First review in New York Classical Review:
Costanzo’ s gorgeous voice could not have been more perfect. What sets him apart from other countertenors is the uncanny feminine timbre in his sound, a quality that combines the human and the otherworldly. His stage presence was tremendous. He is first seen, unwrapped from a giant cocoon, naked and hairless, but what commanded the attention was his posture, his deliberate gait, the way he held himself as he was clothed in the spectacular raiments of the god-king of Egypt….
Akhnaten is easily one of the finest things to ever appear at the Met. The intense beauty of the production was its own thrill. The magnificent costumes by Kevin Pollard have a few touches of ancient Egyptian iconography, but mainly mix Victorian era steampunk and touches of Edwardian fashions. In the second act, Akhenaten and Nefertiti affirm their love while wearing matching red gowns with trains dozens of feet long. As they sang, they entangled each with the other…
Read on here.
photo: Karen Almond/The Met
The production originated in the John Berry era at English National Opera.