||<tablealign=right><:><-5><#AC1E44> {{{#ffffff '''잃은 자의 발자취(Spuren der Verirrten)'''}}}|| ||<:><-5>[[파일:external/cps-static.rovicorp.com/MI0003772292.jpg|width=450]] || ||<:><-5>[[파일:external/www.music-bazaar.com/Spuren-Der-Verirrten-The-Lost-2-2-cover.jpg|width=450]] || ||<:><#AC1E44><table bordercolor=#AC1E44> {{{#ffffff '''음악'''}}}||<-4><:>'''[[필립 글래스]]'''|| ||<:><#AC1E44>{{{#ffffff '''원작자'''}}}||<-4><:>'''[[페터 한트케|페터 한트케(Peter Handke)]]'''|| ||<:><#AC1E44>{{{#ffffff '''원작'''}}}||<-4><:>[[잃은 자의 발자취|잃은 자의 발자취(Spuren der Verirrten)]]|| ||<:><#AC1E44>{{{#ffffff '''개작'''}}}||<-4><:>'''라이너 메닉켄(Rainer Mennicken)'''|| ||<-5><#00008B><table bordercolor=#00008B><:> [[필립 글래스의 오페라|{{{#FFFFFF '''필립 글래스의 오페라'''}}}]] || ||<:> [[완벽한 미국인]][br](2013) || → ||<:><#AC1E44> {{{#FFF671 '''잃은 자의 발자취'''[br](2013)}}} || → ||<:> [[소송(필립 글래스)|소송]][br](2014) || [[미국]]의 현대음악 작곡가 [[필립 글래스]]의 오페라. 가수 & 배우 & 댄서 & 합창단과 오케스트라를 위한 3막으로 구성된 작품. [목차] = 작품 정보 = 독일어 제목: Spuren der Verirrten 영어 제목: The Lost 원작: [[페터 한트케|페터 한트케]]의 Spuren der Verirrten = 시놉시스 = 이 오페라에는 관객(The Spectator)이라는 놀라운 캐릭터가 등장한다. 이 관객은 다툼과 희망, 목표와 두려움, 갈등, 행복에 대한 집착과 갈망을 품고 걸어가는 연인들과 몇몇 무리의 사람들의 출입을 생각하며 소개한다.[* 일종의 나레이터인 셈이다.] = 구성 = 1막 1. Act I - Prologue 2. Act I - Scene 1 3. Act I - Scene 2 4. Act I - Scene 3 5. Act I - Scene 4 6. Act I - Scene 5 7. Act I - Scene 6 8. Act I - Scene 7 9. Act I - Scene 8 10. Act I - Scene 9 2막 1. Act II - Scene 1 2. Act II - Scene 2 3. Act II - Scene 3: Musical Interlude 4. Act II - Scene 4 5. Act II - Scene 5 6. Act II - Scene 6 7. Act II - Scene 7 8. Act II - Scene 8 9. Act II - Scene 9 10. Act II - Scene 10 3막 1. Act III - Scene 1-2 2. Act III - Scene 3 = 위촉 = 오스트리아 린츠주립극장(Landestheater Linz) - 오스트리아 린츠음악극장(Musiktheate Linz) 개관 기념 작품을 위촉했다. = 초연 = 날짜: [[2013년]] [[4월 12일]] 장소: 오스트리아 린츠음악극장(Musiktheate Linz) 지휘: [[데니스 러셀 데이비스|데니스 러셀 데이비스(Dennis Russell Davies)]] = 리뷰 = * [[파이낸셜 타임즈]] ★★★ [[http://www.ft.com/cms/s/2/65794352-a5b6-11e2-b7dc-00144feabdc0.html|리뷰]] * [[뉴욕 타임스]] [[http://www.nytimes.com/2013/04/18/arts/music/philip-glasss-spuren-der-verirrten-has-debut-in-linz.html?_r=0|리뷰]] 오스트리아 린츠 LINZ, Austria — How did Anton Bruckner, thought by some to have been the stodgiest of composers, suddenly become cool? Well, not cool himself, exactly, but he seems to be hanging out more with cool guys: namely, a couple of Minimalist pioneers. When Franz Welser-Möst and the Cleveland Orchestra visited the Lincoln Center Festival in 2011, they played Bruckner symphonies and filled out the programs with works by John Adams. And last weekend, Philip Glass once again offered the premiere of a major piece, his opera “Spuren der Verirrten” (“Footprints of the Lost”), here in what he calls Brucknerland. (Bruckner was born in 1824 in nearby Ansfelden and spent much of his life in the region, at the St. Florian Monastery and elsewhere.) 작곡가 필립 글래스의 경우에 명백한 제3의 커넥션이 있다. 미국인 지휘자 데니스 러셀 데이비스다. 그는 오랜 시간 글래스의 친구이자 대변자였다. 그는 린츠에서 필립 글래스 작품의 대다수를 의욕적으로 무대에 올렸다. 그것은 데니스 러셀 데이비스가 2002년에 린츠 오페라단과 브루크너 오케스트라 린츠의 음악감독이자 상임지휘자가 됐기 때문이다. 오페라 케플러와 교향곡 9번의 세계 초연, 오페라 항해와 교향곡 7번의 유럽 초연이 그랬다. “잃은 자의 발자취(Spuren der Verirrten)”는 “Spuren der Verirrten” was written for the opening of a splendid new fixture in Brucknerland, the Musiktheater am Volksgarten, a truly state-of-the-art opera house that Mr. Davies helped realize after 30 years of planning. 그러나 데니스 러셀 데이비스와의 우정 뒤에서, But beyond friendship with Mr. Davies, is there something deeper, in the nature of the music itself, that ties Mr. Glass to Bruckner and this region. Both, to be sure, project a strong rhythmic impulse, paradoxically combined with a certain static quality. "필립 글래스의 음악은 안톤 브루크너와 강력히 연결돼 있어요." 데니스 러셀 데이비스는 지난주에 필립 글래스와 함께 진행된 공동 인터뷰에서 이렇게 말했다. 데니스 러셀 데이비스는 "재료 사용의 유사성"을 거론했다. 예를 들어, “Philip Glass’s music has strong connections with Bruckner,” Mr. Davies said last week in a joint interview with Mr. Glass. Mr. Davies cited “a similar use of materials” — for example, two- and four-note motifs — played out over “extreme lengths of time.” “You have to be prepared to relax and see where it’s going,” he added. But why should such music thrive in an era of short attention spans? “It’s not so much a question of attention,” Mr. Davies said, “but of listeners’ giving themselves a choice and entering a sort of meditative state. Some don’t have the patience, and I wouldn’t make a steady diet of Philip or Bruckner. But for some, it’s a form of spirituality.” Mr. Glass seemed to shy away from the notion of spirituality, saying: “It gets cluttered with social meaning. We used to call it extended time.” Referring to John Cage as an avatar, he spoke of “embracing expansiveness and the emptiness of time.” However all of that may be, and however much “Spuren” may represent a return to the dramatic incoherence of Mr. Glass and Robert Wilson’s “Einstein on the Beach” (1976), Mr. Glass’s style has opened up and broadened out considerably. Motifs are more mutable in their repetitions, less extreme in their durations; harmonies shift more quickly; textures are more varied. In “Spuren,” Mr. Glass even added Austrian local color to his instrumentation: alphorns and zithers. Not that there is anything overtly pastoral, or for that matter, urban, in the text, drawn from a play of the same name by Peter Handke. Consisting largely of snatches of conversation without context, the opera repeatedly asks the question “Where are we?” Where in space, yes, but also in time and medium, in a work with cameos by Salome and Abraham and Isaac from the Bible, Medea and Oedipus from Greek mythology and Octavian and the Marschallin from opera. But the main characters — actors and dancers as well as singers — are timeless, faceless, even nameless: not only lost but mere traces of the lost. At a news conference before the performance, a journalist asked Mr. Handke whether it wasn’t all a bit bleak. “I like to be lost,” he replied. Mr. Handke and members of the production team — David Pountney, the director; Rainer Mennicken, the librettist; and Mr. Glass — variously suggested that to question, even just to move, is to be alive and a thing worth celebrating. Accordingly, the work ends with a big party, the orchestra members having spirited their way to the stage, their seats now filled by members of the huge cast, which includes even some Linz civilians onstage. Where are we indeed? For all of this, Mr. Glass provided a richly colorful, flowing tapestry of sound. These days he appears no more a Minimalist than Bruckner was — maybe less so — and he has long bridled at being called one. “It’s a word that came from your end of the block,” he said, referring to journalists, “not mine.” Can he live with “pioneer of Minimalism”? “I’d rather be called its undertaker,” he said. “ ‘Einstein’ really was 35 years ago,” he added loosely. “I’m 76 and I’m doing a makeover.” Still, the term persists, and so do the jokes. The Landestheater, adding the Musiktheater to its old home but retaining a singleness of purpose, marketed the opening with slogans: “Two Hands, One Applause”; “Two Voices, One Duet.” 무대 뒤에서 지휘자 데니스 러셀 데이비스는 말했다. Backstage, Mr. Davies said, some have taken to referring to “Spuren” as “Two Notes, One Opera.” Unfair, to be sure, but funny. = 공연 사진 = [[파일:external/www.nmz.de/Linz%20Glass_2.jpg]] [[분류:오페라]][[분류:필립 글래스의 작품]]