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News Release Brooklyn 30 LafayetteAvenue Academy Brooklyn NY 11217-1486 of Telephone:718.636.4129 Music Fax:718.857.2021 PressDepartment Elena Park Susan Yung Adriana Leshko NEWS RELEASE Brooklyn Academy of Music presents the New York premiere of Philip Glass and Robert Wilson's Monsters of Grace, an innovative digital opera in three dimensions Music by Philip Glass Visual concept by Robert Wilson Lyrics by Jalaluddin Rumi , translated and adapted by Coleman Barks , sung in English Visual Realization & Computer Animation by Kleiser-Walczak Construction Company Executive Producer Jedediah Wheeler BAM co-commission BAM Opera House Thirteen performances: December 9*-12, 15-19 at 7:30pm; December 12 & 19 at 2pm; December 13 & 20 at 3pm (* Monster s of Grace Gala will be held on December 9) tickets : $45, 30, 15 (including 3-D glasses) Brooklyn, November 16, 1998 (Revised)-Brooklyn Academy of Music (BAM) presents the New York premiere of composer Philip Glass and director /designer Robert Wilson's Monsters of Grace, a digital opera in three dimensions . Melding high a.rt and high technology , this Next Wave Festival production combines a computer-animated 70mm format film with live music and vocals ; lyrics (sung in English) are drawn from the spiritual poetry of 13th century Persian mystic Jalaluddin Rumi . This BAM co-commission marks the first performances of Monsters of Grace in which all thirteen scenes are fully animated . The production will receive thirteen performances at the BAM Opera House (30 Lafayette A venue , Brooklyn) between December 9-20. The Next Wave Festival , comprised of sixteen dance , music , and theater events , is sponsored by Philip Morris Companies Inc. For tickets , call BAM Ticket Services at 718.636.4100. BAM Prefers Visa® . ... more BAM Next Wave Festivaland Spring Seasonare sponsoredby Philip MorrisCompanies Inc. Monsters, page 2 About Monsters of Grace and the poetry of Rumi Monsters of Grace is a new and continually evolving work by composer Philip Glass and stage director/designer Robert Wilson. Using advanced cinematic and stereoscopic animation technologies, this groundbreaking production explores the unlimited possibilities and enigmatic interplay of light, sound and objects. BAM's 13-performance engagement features a three­ dimensional, computer-animated 70mm format film accompanied by live music and a quartet of voices. According to Wilson, "I'm not giving you puzzles to solve, only pictures to hear. You go to our opera like you go to a museum." Monsters of Grace is scored for amplified voices, woodwinds, keyboards , Macintosh computers, MIDI interface and custom-designed sampled Persian and other Middle-Eastern string and percussion instruments . Performed live by the Philip Glass Ensemble and four vocalists , Monsters of Grace is a radical departure from the creative team's 1976 landmark opera, Einstein on the Beach , seen at BAM in 1984 and 1992. The lyrics for Monsters of Grace are based on the 13th century poetry of Jalaluddin Rumi, one of the world's great poets and mystics who is credited as the original whirling dervish. Glass commented: "What interested me about Rumi's poetry is that it is really a collection of love songs. Devotional or romantic , they describe the transformation of the ordinary world into the realm of the spiritual." Audience members will view Monsters of Grace through special polarized lenses with frames designed by l.a.Eyeworks. The 68-minute production "offers what could be a glimpse of 21st century music theater-if we' re lucky ... a sumptuous play of images, color and movement, supported by the unearthly glory of one of Glass' most affecting scores," commented San Francisco Chronicle) on the "beta" version premiere last April. About the animation process Monsters of Grace was originally conceived as a "conventional" stage production. When Wilson's visions of helicopters , polar bears and gigantic hands began to exceed physical and economic limitations, Jeff Kleiser and Diana Walczak , directors of Kleiser-Walczak Construction Company , creators of the special effects in the films Stargate, Judge Dredd and Clear and Present Danger, joined the creative team to render Wilson's design into 3-D, ... more Monsters , pag e 3 computer-generated images. The technology enabling Monsters of Grace includes Alias[Wavefront software running on OS2 graphics workstations from Silicon Graphics computers (famous for the digital dinosaurs in the movie Jurassic Park). While the first performances of the work in Los Angeles last April featured eight animated scenes and five staged scenes, all thirteen scenes of Monsters of Grace will be fully animated at the BAM engagement, fulfilling Glass ' and Wilson ' s original intention. Running 68 minutes , Monsters of Grace will be the longest computer generated stereoscopic film ever produced . Each of the thirteen scenes in Monsters of Grace was realized by a team of at least three artisans. After the art department finalized the storyboards, a modeler was assigned to "build" the elements of the scene using the computer software tools most suited for the task. An animator then used the completed models to execute- within the parameters of computer technology-the desired action of the scene. The final step of this process was to light the sequence as though it were a traditionally staged scene, with the added challenge of creating depth , colors and textures which would occur naturally in the real world. Depending upon the complexity of the scene, the process took from four to twelve weeks to complete. Jedediah Wheeler , the show's executive producer , said: "Monsters of Grace does what I want all theater to do: it challenges preconceptions and subverts conventional wisdom. The journey from inception to performance produced new ways of working that married the most advanced technology of our time with the esthetic vision of Philip Glass and Robert Wilson. In a wonderful way, the Sufi poetry of Rumi, with its lessons of unfolding enlightenment , are well suited to "the process as performance " of our computer age. Who knew?" BAMdialogue with Jeff Kleiser and Diana Walczak Thursday , December 10 at 5:30pm BAM Richard Alan Hillman Attic Studio tickets : $8 Film and computer animators Jeff Kleiser and Diana Walczak demonstrate the animation techniques used in creating the 3-D film Monsters a/Grace. An initiative of BAM Education and Humanities , BAMdialogues (sponsor ed by AT&T) are public conversations with artists and cultural commentators . ... more Monsters, pag e 4 Monsters of Grace Gala on December 9 The Monsters of Grace Gala will be held in conjunction with the opening performance on December 9. Sponsored by Philip Morris Companies Inc., the event will benefit BAM and Top Shows Inc. For Gala information , please call 718.636.4174. For a Gala press release , please call BAM Press at 718.636.4129. About the creative team Philip Glass, an iconoclast among American composers, applied his research in India, North Africa and the Himalayas to his own work and, by 1974, had created a large body of work in a distinct idiom. Much of his early work was used by the Mabou Mines theater company , which he co-founded , and most of it was intended for his own performing group, the Philip Glass Ensemble. This period reached its apogee with Einstein on the Beach, a landmark in 20th century music-theater. Glass ' output since that groundbreaking work has ranged from opera, to film score, to dance music , to symphonic work, to string quartets, to such unclassifiable theater work as The Photographer and 1000 Airplanes on the Roof Recent work includes Heroes, a ballet symphony for Twyla Tharp ; Les Enfants Terribles: Children of the Game, a dance opera spectacle, choreographed by Susan Marshall and performed at BAM in 1996; The Voyage, commissioned by the Metropolitan Opera; and the Third Symphony, premiered by the Stuttgart Chamber Orchestra. Additional works performed at BAM include Satyagraha ( 1981 ); the world premieres of Low Symphony, first performed in 1992 and later recorded by the Brooklyn Philharmonic , and Second Symphony (1994); revivals of Einstein on the Beach in 1984 and 1992; and the New York premieres of Orphee ( 1993) and La Belle et La Bete ( 1994 ), two parts of his operatic trilogy based on the work of Jean Cocteau. Glass' recent work includes White Raven with Robert Wilson, a new composition for the Rascher Saxophone Quartet ; and The Witches of Venice, a new ballet created by Beni Montresor, commissioned by Teatro alla Scala . In 1995, Glass was made a Chevalier de l 'Ordre des Arts et des Lettres by the French government. Robert Wilson , a native of Waco , Texas, was acknowledged as one of the leading figures in Manhattan's avant-garde theater world by the late 1960s. His association with BAM dates back to 1969 when he presented The Life and Times of Sigmund Freud (offered again by BAM in 1970). Following the 1971 Paris debut of Wilson 's breakthrough Deajman Glance (performed at BAM in 1971 ), Louis Aragon wrote ... more Monsters , pag e 5 a letter to Andre Breton claiming that "I have never seen anything more beautiful in the world." Following Deafman Glance, Wilson presented a number of influential productions, including the seven-day play KA MOUNTain and GUARDenia Terrace (1972); The Life and Times of Joseph Stalin, a 12-hour silent opera performed in 1973; The$ Value of Man (seen at BAM at 1975); and finally his landmark Einstein on the Beach (1976 , mounted at BAM in 1984 and 1992). After Einstein, Wilson worked increasingly in state -supported European theaters where he created a number of exemplary productions, including the twelve-act, multi-media epic, the CIVIL warS: a tree is best measured when it is down (Act V-The Rome Section was performed at BAM in 1986). Created in collaboration with an international group of artists and intended for inclusion in the 1984 Olympic Arts Festival in Europe, the opera is considered Wilson's most ambitious project to date.
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