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Published online by Cambridge University Press: 28 September 2016
Arman Schwartz, University of Birmingham; [email protected].
1 Accounts of the event on which I draw include Ross, Alex, ‘The Satyagraha Protest (Updated)’, The Rest Is Noise (2 December 2011)Google Scholar, www.therestisnoise.com/2011/12/the-satyagraha-protest.html; Ross, ‘Number Nine’, The New Yorker (13 February 2012); Seth Colter Walls, ‘Satyagraha and Occupy Lincoln Center, Last Night’, The Awl (2 December 2011), www.theawl.com/2011/12/at-satyagraha-and-occupy-lincoln-center; Maury D’Annato, ‘Scenes from an Occupation’, Parterre Box (2 December 2011), http://parterre.com/2011/12/02/scenes-from-an-occupation/; Benjamin Laude, ‘Glass, Gandhi, Occupy: Performance’, Parterre (22 December 2011), http://parterre.com/2011/12/22/glass-gandhi-occupy-performance/#more-24044; and Laude, ‘Glass, Gandhi, Occupy: Action’, Parterre (23 December 2011), http://parterre.com/2011/12/23/glass-gandhi-occupy-action/#more-24060 (all accessed 11 June 2015). Many of the articles mentioned above feature embedded video of the protest.
2 The production was a revival of an earlier staging, directed by Phelim McDermott, which was created at the English National Opera in 2007 and debuted at the Metropolitan Opera in 2008.
3 Quoted in Laude, ‘Action’.
4 Ross, ‘The Satyagraha Protest’.
5 Mendelsohn, Daniel, ‘The Truth Force at the Met’, New York Review of Books (12 June 2008)Google Scholar.
6 Page, Tim, ‘Satyagraha’, The New Grove Dictionary of Opera. Grove Music Online. Oxford Music Online. Oxford University Press, www.oxfordmusiconline.com/subscriber/article/grove/music/O002837 (accessed 11 June 2015)Google Scholar.
7 For Glass’s own accounts of the work’s genesis, see Music by Philip Glass, ed. Robert T. Jones (New York, 1987), 87–109, and Words Without Music: A Memoir (New York, 2015), 305–16. Glass attributes the phrase ‘real opera’ to the Dutch impresario Hans de Roo.
8 Chaconne-like procedures are central to Glass’s early operatic style. See Glass, , Music by Philip Glass, 115–118 Google Scholar, and Richardson, John, Singing Archaeology: Philip Glass’s Akhnaten (Hanover, 1999), 61–68 Google Scholar.
9 Mendelsohn, ‘Truth Force’.
10 For one important refusal to refuse, see Fink, Robert, Repeating Ourselves: American Minimal Music as Cultural Practice (Berkeley, 2005)Google Scholar.
11 For brief but suggestive comments on Glass’s Wagnerian self-fashioning, see Richardson, Singing Archaeology, 2.
12 On neo-grand opera, see Gutkin, David, ‘“Meanwhile, Let’s Go Back in Time”: Allegory, Actuality, and History in Robert Ashley’s Television Operas’, Opera Quarterly 30/1 (2014), 5–48 CrossRefGoogle Scholar.