Doctor Atomic
is an opera by the contemporary American composer John Adams, with libretto by Peter Sellars. It premiered at the San Francisco Opera on October 1, 2005. The work focuses on the great stress and anxiety experienced by those at Los Alamos while the test of the first atomic bomb (the "Trinity" test) was being prepared. A documentary was made about the creation of the opera, titled Wonders Are Many
(2007).
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DOCTOR ATOMIC TICKETS
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Plot and production
The first act takes place about a month before the bomb is to be tested, and the second act is set in the early morning of July 15, 1945 (the day of the test). During the second act, time frequently slows down for the characters and then snaps back into reality. The opera ends in the final, prolonged moment before the bomb is detonated. Although the original commission for the opera suggested that U.S. physicist
Robert Oppenheimer, the "father of the atomic bomb," be fashioned as a twentieth-century
Doctor Faustus, Adams and Sellars deliberately attempted to avoid this characterization.
The work centers on key players in the
Manhattan Project, especially Robert Oppenheimer, General
Leslie Groves, and also features
Kitty Oppenheimer, Robert's wife, and her anxiety over her husband's project. Sellars adapted the libretto from primary historical sources. The libretto also quotes from the
Bhagavad Gita, songs of the
Tewa, the Holy Sonnets of
John Donne, and the poetry of
Charles Baudelaire and
Muriel Rukeyser.
Doctor Atomic
is similar in style to previous Adams operas
Nixon in China
and
The Death of Klinghoffer
, both of which explored the characters and personalities that were involved in historical incidents, rather than a re-enactment of the events themselves.
Libretto
Much of the text from the opera was adapted from declassified U.S. government documents and communications among the scientists, government officials, and military personnel who were involved in the project. Other borrowed texts include poetry by
Baudelaire,
John Donne, and
Muriel Rukeyser, the
Bhagavad Gita
, and a traditional
Tewa Indian song. Marvin Cohen, head of the
American Physical Society, criticized some parts of the libretto for not being strictly scientifically correct, in particular the original opening lines (below).
[1]
The opening chorus originally began with the following excerpt from the 1945
Smyth Report:
"Matter can be neither created nor destroyed but only altered in form.
Energy can be neither created nor destroyed but only altered in form."
Subsequently to Cohen's criticism, Adams rewrote the opening chorus, so that it now reads:
[2]
We believed that
"Matter can be neither
created nor destroyed
but only altered in form."
We believed that
"Energy can be neither
created nor destroyed
but only altered in form."
But now we know that
energy may become matter,
and now we know that
matter may become energy
and thus be altered in form.
Act I concludes with an aria sung by Oppenheimer with text from Donne's
Holy Sonnet XIV:
Batter my heart, three person’d God; For you
As yet but knock, breathe, knock, breathe, knock, breathe
Shine, and seek to mend;
Batter my heart, three person’d God;
That I may rise, and stand, o’erthrow me, and bend
Your force, to break, blow, break, blow, break, blow
burn and make me new.
I, like an usurpt town, to another due,
Labor to admit you, but Oh, to no end,
Reason your viceroy in me, me should defend,
But is captiv’d, and proves weak or untrue,
Yet dearly I love you, and would be lov’d fain,
But am betroth’d unto your enemy,
Divorce me, untie, or break that knot again,
Take me to you, imprison me, for I
Except you enthrall me, never shall be free,
Nor ever chaste, except you ravish me.
The Act II, scene iii chorus, borrowed from the
Bhagavad Gita
(translated into English by
Swami Prabhavananda and
Christopher Isherwood) reads:
At the sight of this, your Shape stupendous,
Full of mouths and eyes, feet, thighs and bellies,
Terrible with fangs, O master,
All the worlds are fear-struck, even just as I am.
When I see you, Vishnu, omnipresent,
Shouldering the sky, in hues of rainbow,
With your mouths agape and flame-eyes staring—
All my peace is gone; my heart is troubled.
Act II is peppered with a repeated refrain from Pasqualita, the Oppenheimers'
Tewa Indian housemaid. The text comes from a traditional Tewa song, and subsequent reiterations repeat the text with the direction changed to
west
,
east
, and
south
:
In the north the cloud-flower blossoms
And now the lightning flashes
And now the thunder clashes
And now the rain comes down! A-a-aha, a-a-aha, my little one.
San Francisco premiere
The original
San Francisco Opera production was directed by
Peter Sellars and conducted by
Donald Runnicles, with choreography by
Lucinda Childs. It featured
Richard Paul Fink as
Edward Teller,
Gerald Finley as
Robert Oppenheimer, Thomas Glenn as
Robert Wilson,
Kristine Jepson as
Kitty Oppenheimer,
Eric Owens as
General Leslie Groves,
James Maddalena as
Jack Hubbard,
Jay Hunter Morris as Captain James F. Nolan,
Beth Clayton as the Oppenheimers' Tewa maid Pasqualita, and
Seth Durant as Peter Oppenheimer (Robert Oppenheimer's son). Sets were designed by
Adrianne Lobel, costumes by
Dunya Ramicova, lighting by
James F. Ingalls, and sound by
Mark Grey.
Kitty Oppenheimer's
aria, "Easter Eve, 1945", by
Muriel Rukeyser (from her poem of the same name) was premiered by
Audra McDonald in May, 2004 with the
New York Philharmonic and Adams conducting. Two extracts from the work were performed in London in August 2004, conducted by John Adams as part of the 2004
Proms season.
Roles
Role
| Voice type
| Premiere Cast, October 1, 2005 (Conductor: Donald Runnicles)
|
Robert Oppenheimer
| baritone
| Gerald Finley
|
Kitty Oppenheimer
| mezzo-soprano or soprano
| Kristine Jepson
|
General Leslie Groves
| bass
| Eric Owens
|
Edward Teller
| dramatic baritone
| Richard Paul Fink
|
Robert R. Wilson
| tenor
| Thomas Glenn
|
Jack Hubbard
| baritone
| James Maddalena
|
Captain James Nolan
| tenor
| Jay Hunter Morris
|
Pasqualita
| mezzo-soprano
| Beth Clayton
|
Adams had written the role of Kitty Oppenheimer for the
mezzo-soprano Lorraine Hunt Lieberson. However, she was unable to commit to the project due to her health (she died soon after the work premiered). The work was sung in the world premiere by Mezzo Kristine Jepson. For the second major production, at
De Nederlandse Opera, Adams reworked the role for a soprano, Jessica Rivera. For the Metropolitan Opera Premiere, the role was again sung by a Mezzo, Sascha Cooke.
Subsequent productions
In June 2007 this production made its European première at
De Nederlandse Opera in
Amsterdam, and was a great success. It then opened in December 2007 at the
Lyric Opera of Chicago, again directed by Sellars, with Finley and Owens reprising their roles. Adams and Sellars made "some significant changes" to the opera and production in response to feedback from the San Francisco, Amsterdam, and Chicago productions.
[3]
A new production of the opera, directed by the film director
Penny Woolcock, was performed at the
Metropolitan Opera in New York in October 2008 and was part of the
Metropolitan Opera Live in HD series on 8 November 2008. The
HD video of the production was later televised nationally on
PBS as well, in the
Great Performances at the Met
series. On January 17, 2009, the Met production of the opera was heard on
NPR as part of the Saturday afternoon
Metropolitan Opera radio broadcasts. Penny Woolcock's production was restaged by the
English National Opera in London, February 25 – March 20, 2009 with
Gerald Finley reprising his portrayal of the lead.
[4]
On 21 and 23 November 2008, Gerald Finley and most of the Met cast reprised their roles with the
Atlanta Symphony Orchestra and Chorus, in a semi-staged production by James Alexander. Soprano Jessica Rivera and contralto Meredith Arwady performed the roles of Kitty Oppenheimer and Pasqualita, respectively.
Selected recording
2008 DVD widescreen DTS sound; with Gerald Finley as J. Robert Oppenheimer; conductor: Lawrence Renes; Netherlands Philharmonic Orchestra and Chorus; Studio: Opus Arte
See also
Footnotes
References
- "Libretto takes liberties with fundamental physics: Professor's technical concerns fall on deaf ears." ''The Berkeleyan.'' 22 September 2005
- ''Doctor Atomic'' libretto
- Tommasini, Anthony. "''Doctor Atomic'': Tweaking a Definitive Moment in History." ''New York Times''. December 17, 2007 (Retrieved 9 February 2009)
-
English National Opera