John Adam's Dr. Atomic
Looking back on this November, the best concert experience was attending John Adam's Dr. Atomic on November 6th. Aside from the surprise that the composer himself was in the house, the cast shined brilliantly. Gerald Finley was as amazing as everyone had pronounced, yet I was still surprised by the sheer power of his sound, which carried markedly further than the other cast members. The orchestra stood out as well, with what appeared to be terribly difficult timpani solos, executed with flair.
As a composer I often measure the success of my own performances by the reaction from the audience. Judging by the audience that night, it was an unequivocal success. It was great to see how intensely engaged the audience was with the show. Considering all of the weak attempts at contemporary opera these days, with tepid plots and music that plods along as if the composer is running out of ink, Dr. Atomic is a beacon of hope for opera written today: full of passion, focus, and a desire to reach the heart of the story.
The libretto, by Peter Sellars, likewise held the narrative together marvelously well, bringing in poignant historical references (the Native-American's presence and the Oppenheimer reading list, to name a few) with dignity and intellectual reflection. The co-decision to end the opera the way it did, certainly will be read many different ways, but was probably the only ending the opera could have successfully executed.
So, if you happen to have the chance to see this opera when it comes along again, don't miss it!
As a composer I often measure the success of my own performances by the reaction from the audience. Judging by the audience that night, it was an unequivocal success. It was great to see how intensely engaged the audience was with the show. Considering all of the weak attempts at contemporary opera these days, with tepid plots and music that plods along as if the composer is running out of ink, Dr. Atomic is a beacon of hope for opera written today: full of passion, focus, and a desire to reach the heart of the story.
The libretto, by Peter Sellars, likewise held the narrative together marvelously well, bringing in poignant historical references (the Native-American's presence and the Oppenheimer reading list, to name a few) with dignity and intellectual reflection. The co-decision to end the opera the way it did, certainly will be read many different ways, but was probably the only ending the opera could have successfully executed.
So, if you happen to have the chance to see this opera when it comes along again, don't miss it!
posted by Spencer Topel at
12:12 AM
