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John Adams: Doctor Atomic [Blu-ray]

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I've held off writing about Dr. Atomic. I've now watched it for the third time and haven't changed my mind. It's a masterpiece. There's no denying some of the power of the score, but it is in the many more introspective moments that I find its most arresting beauty and power.

Gerald Finley - a singer I went nuts for as Papageno nearly 20 years ago, still has a marvelously appealing boyish handsomeness that suits this role to a tee. This could be the role of his career so far. The voice is in absolutely peak condition, one of the most beautiful baritones singing today (in my opinion) with a winning combination of brightness, mellowness, one of the most even-sounding vibratos of any singer today and a light rich quality that simply gleams. His body was made for the stage, moving with a relaxed athleticism, and knows how to strike a pose that hits you like a spotlight. In many regards, his intensity reminds me of another favorite singer of mine, Lorraine Hunt Lieberson in that his gestures - while highly theatrical, seem germane, perfectly suited to the character - as though they could not be performed any other way. This is star quality that elevates a performance to greatness.

The most powerful moment for me remains the ending of the first act, Oppenheimer's brilliant prayer/aria "Batter my heart, three person'd God." I cannot watch this without tears pouring from first to last. The music itself is remarkable, but combined with Finley's voice, and passionate interpretation, the heightened sense of movement by Peter Sellars and the staging itself, it becomes nearly unbearable in its intensity and beauty. With the bomb behind a curtain, like some templed sacred object behind a veil, Oppenheimer slowly approaches the veil, then turns and falls, and repeats the a series of gestures, each time with increasing intensity rising, falling, beating his heart with fist, hands to his head, then again approaches the veil. Following the final verse, he enters the veiled room, left in silhouhette, his hand raised towards the object itself. It is one of the most beautifully powerful stagings of an aria I've experienced.

Richard Paul Fink is another of my favorite singers and his beautiful bass sound, remarkable diction and fine dramatic instincts make his portrayal of Teller as important as the central role of Oppenheimer, particularly in the first half. Jessica Rivera is simply amazing as Kitty Oppenheimer, her first aria "Am I in your light," as the couple is in bed, her husband trying to study, offers a stunning contrast to all of the music before it. Oppenheim gives up his reading, and responds to her, climbing over and gently caressing her with stanza from Baudelaire. It is a quiet, intimate and beautiful moment.

Eric Ownes offers a richly detailed, entirely believable performance as General Groves, expressing his frustrations, concerns, detailing his weight issues (complete with calorie counts!) in that gorgeous, sonorous baritone of his.

The remainder of the cast, James Maddalena, Thomas Glenn, Jay Hunter Morris, and particularly the oddly moving performance of Ellen Rabiner as Pasqualita, are all up to the same level as the central roles.

I have some issues with the staging, and could have easily been happier if Lucinda Childs' incessant choreography had but cut - by at least half. Some of it is highly effective, such as the angular, ritualistic movement out in the desert, but much of it appeared as though a rehearsal for the Jets and Sharks were taking place at the rear of the stage while an opera was going on.

The chorus of De Nederlandse Opera sings English about as well as any English speaking chorus, and the musical direction of Lawrence Renes with the Netherlands Philharmonic rises to the level of Adams' remarkable score.

If I've any gripe (outside of the unnecessary choreography) it would be one I've made of many live performance videos: no curtain calls or opportunity to see - and share in - the audience's reaction. This is a bad move in my opinion. I understand by the end of viewing this how emotionally drained a viewer can be - I was exhausted - but there were several thousand people cheering this and, apparently, an enormous ovation for the performers. I find it a bit rude as well not to allow these people who'd offered these intense, blazing performances for three hours of a difficult score, the opportunity to take a bow in our respective living rooms.

There are a bunch of extra features, mini documentaries, and interviews that make this an exceptional DVD purchase for anyone interested in the future of opera. A truly overwhelming operatic experience.

John Adams' "Doctor Atomic" is a classic in the making. Anthony Tommasini of the New York Times calls it "grimly humane and musically intricate." These DVDs were recorded at the Netherlands Opera in June 2007, in a co-production with the San Francisco Opera (which premiered the work in October 2005) and the Lyric Opera of Chicago. The Met staged and recorded "Doctor Atomic" in October 2008. New Yorker critic Alex Ross has written a highly informative article about "Doctor Atomic," which can be found on his website, therestisnoise.com.

The cast of this video largely duplicates that of the premiere--
J. Robert Oppenheimer: Gerald Finley
Kitty Oppenheimer: Jessica Rivera
General Leslie Groves: Eric Owens
Edward Teller: Richard Paul Fink
Jack Hubbard: James Maddalena
Robert Wilson: Thomas Glenn
Captain James Nolan: Jay Hunter Morris
Pasqualita: Ellen Rabiner
Musical Director: Lawrence Renes
Stage Director: Peter Sellars
Finley, Owens, and Fink will also appear in the Met production. The DVD includes a detailed, helpful synopsis of the plot and an interview with director Peter Sellars.

The opera focuses on the personal and ethical dilemmas faced by the characters preceding the first atomic bomb test in New Mexico in 1945. Sellars prepared the libretto for the opera, which is compiled from various sources, including writings of atomic scientists and government officials; poetry by Baudelaire, John Donne,and Muriel Rukeyser; and the Bhagavad Gita. The result is profoundly thought-provoking and moving. Adams' music always fits the texts, whether scientific, political, romantic, or philosophical. The choreography features the gestures that we have come to expect from Sellars (although less distracting than in, say, his production of Handel's Theodora). The video "refines yet further the director's vision," writes Ross, "with close-ups giving emotional focus to those whirling tableaux" The singing and acting are first-rate. Overall, the production and its recording are musically and dramatically riveting.

The Met's production, directed by Penny Woolcock, is new and different but lacks the urgency of Sellars' original. My recommendation is to buy this recording right away.

Opera on DVD has taken a great leap forward this year and this opera is no exception. The DVD is presented in 16:9 widescreen format with DTS sound.

Dr. Atomic is to me what opera is all about -- merging story with emotion and this opera packs big emotional kick.

My favorite extra, on disc 1, is the visual synopsis of opera allowing you to easily get to know all the characters.

I highly recommend it.

The plot is based on the last days of the Manhattan project, but in fact the greatness of this opera is the portraying of the human struggles of the people involved in the project. The plot itself is the reason to get into those very human emotions and struggle, so the full accuracy of the plot doesn't seem to me of crucial importance. The best music is for those internal looking moments, with the necessary "actions" to put everything in perspective (sounds familiar?). Some of the tense moments in the plot are for music only, masterly composed by John Adams.
I have the feeling the production is over played which sometimes disturbs and distracts. In addition, some of the close-ups (for the DVD) are over-dramatic veering the attention from the poetry and the music. The music and the lyrics are beautiful and strong enough. It doesn't need over-acting and distractions like people moving fast on the scene.
The last scene of first act is impressive, in particular when Oppenheimer silhouette raises his hand and finger to the "Gadget" (God?)... but there is no finger responding this time.
Remembering that all music (and opera) was once new, this DVD is recommended for all Opera lovers and enthusiasts.

As one who has seen both the San Francisco and the new MET staged version of this important 21st century opera, I highly recommend the DVD as a "close up" experience of the memorable dramatic moments in the Peter Sellars production.

Sellars directed the DVD and has orchestrated this production to bring out the interplay among the characters and to capture intimate moments that could not be seen this way on stage.

At the same time, it captures the fleeting movements of the Lucinda Childs dancers among the scientists and workers and their last minute preparations for the Trinity test.

Thanks for the history lesson, Tom, but Holy Cow! If the only acknowledgment of the music you heard today is "While the score is certainly engaging and momentous at times.." and your best recommendation is to forget the opera and read a book chronicling the Manhattan Project, why did you spend the money to go to the opera? Like any theater piece, opera is at its best dealing with human passions and the conflicts which arise between people in relationship to each other. Words, music and visuals combine to create a vivid metaphor for the human condition, and perfect historical accuracy need not be part of the equation. The hopes and fears of the scientists as they struggle with creating a device they hope will save lives but may indeed pose the threat of annihilation; the personality conflicts between two scientists working toward the same goal while harboring different personal agendas; the costs that single-minded dedication to an urgent goal may exact on a precious personal relationship; the contrast between hard concrete left-mind science and mysterious, numinous native spirituality; and above all, the struggle of a sensitive and artistic temperament to reconcile his sense of beauity and love with the monstrosity he has created--these are the business of opera, and Doctor Atomic is a riveting exploration of those issues.

Adams' music reflects these struggles magnificently, flowing through them all, from love and passion to lurking menace and fear, like a river. I, too, was in the theater today for Doctor Atomic, and I was knocked flat by the electrifying scene at the end of Act I, as Oppenheimer, alone with his creation as it looms over him, writhes in an agony of conscience over what he has done. The historical record supports this idea, and you can see it there on his face in any portrait of the man even if he didn't really stand there alone in the moonlight. But even if it wasn't real fact, it is a perfect way for the artist to illustrate one of the major cosmic themes of the opera and of our day. Any viewer/listener with the equipment to allow the music, poetry, and images to work their triple magic on one's conscious and unconscious being would have to be struck dumb by the power of that scene. This is great theater--cosmic questions made real in the passions of human beings--so, who cares about history at a moment like that? On that level, Doctor Atomic is a work of genius which takes one's breath away.

I've read my World War II history as well, and it has enriched my experience of this opera; for example, I am inspired to revisit the historical record to see if my memory of the characters of Oppenheimer and Teller should be adjusted because of the surprisingly different angle on their personalities and conflicts which the opera presents. But that's only an interesting sidelight compared with the overwhelming emotional experience of surrendering to the sights, sounds and words of great human passions, illustrated as only a great opera can do.

If these live transmissions by the Met can help people learn to park their preconceived ideas at the door for a couple of hours and open themselves to such powerful experiences, they have done their job. Leave the history books next to your easy chair for some other cold day in front of the fire.

This production is 95% very, very close-up full face shots. There are no, zero, full stage shots. Very Occasionally there is a full body shot. There is absolutely no sense of theater at all.

This opera could have been filmed in an 8 x 12 foot room. No sense of space exists. DAS BOOT had more wide shots. Even the dance sequences, by famed choreographer Lucinda Childs, are shown in half body, never in full ensamble. There were close-ups that showed only an EYE, full screen. The average cut away was about every two seconds. The camera never lingered on a singer for more than a second or two. The fine chorus was shown, guess what, as only full face individuals. Gerald Finley was excellent, but did we have to see him in extreme close-up ALL THE TIME. Paul Newman he's not. We have scene after scene of Kitty Openheimer SLEEPING in close-up. There is even a close-up of a plastic baby doll.

This Video is a shame. A wonderful performance ruined by totally inept filming. The video jacket credits the director, Peter Sellers, as the TV director. He must be incompetent or playing a joke on us.

Wait for the Mets HD filming to become available.

DOCTOR ATOMIC is a timely work of art that is at once crucial on both an artistic and a societal level. Adams's portrayal of J. Robert Oppenheimer as a contemporary Faust character is perhaps more felicitous today than had the opera been written in 1946. While the connate drama associated with the idea of an atomic bomb is certainly obvious and embedded in the production, Adams and Peter Sellars (the librettist and director) ingeniously focus their dramatic attentions to the human drama of the characters at hand that is only natural given their participation in such a morally-rooted dilemma. As the opera progresses, the audience becomes witness to the emotional and intellectual struggles Oppenheimer endures as he tries to rationalize his scientific agenda with his moral obligations.

Act I ends with Oppenheimer's heart-wrenching aria ("Batter my heart three-personed God...") that is a setting of one of John Donne's Holy Sonnets. It is with this aria that Adams most definitely makes an allusion to the historic Faust legend of a man who sells his soul to the devil in order to gain knowledge ("...but I am betrothed unto your enemy..."). Not only is Adams's setting of the text impeccable, but Gerald Finley's delivery and performance are among the greatest operatic achievements in perhaps all of music history. Adams mirrors this aria in Act I with a less-powerful but arguably more haunting aria for Oppenheimer ("To what benevolent demon do I owe the joy of being thus surrounded?")

Other highlights include the Act I, Scene II bedroom scene in which Oppenheimer and his wife, Kitty, make love to one another by reciting the poetry of Charles Boudelaire, and the transcendental arias for Kitty's maid, Pasqualita, which are sung very convincingly by the powerful contralto of Ellen Rabiner. And, of course, one cannot forget to mention the nebulous finale, which, with its clock-like pulses and inconclusive culmination, leaves observers both stunned and deep in thought as the voice of an ambiguous Japanese woman (feebly asking for a glass of water) fades into the silence of reality.

With DOCTOR ATOMIC, John Adams has created what is arguably the first important opera in the twenty-first century. In reading the other reviews that have been posted, I am somewhat discouraged to find that people are still categorizing Adams's music as minimalist and lacking of melodic or harmonic fluency. While it would certainly be foolish to argue that Adams has never written "minimal" scores, it is just as foolish to place that label on any of his works reaching as far back as NIXON IN CHINA. While motor-rhythms and repetition still permeate the music, Adams has also unearthed a new harmonic palette, that (in spite of not being "traditional") is both imaginatively novel and intrinsically functional. Even more conspicuous is Adams's obvious gift for melody. He has discovered a lyricism that is at once haunting and challenging, yet (to refute one previous reviewer) completely memorable and indelible enough that I often find myself humming the melodies from this opera quite frequently.

Mesmerized by the fascinating very recent documentary on the making of this opera, called "Wonders Are Many" and aired recently on PBS, I was more than happy to sit down and watch the entire opera, from the Met, on TV -- starring Gerald Finley.

In case you don't know, "Doctor Atomic" is the story of physicist Robert Oppenheimer and the Manhattan Project -- that is, the building of the first atomic bomb, in seclusion in New Mexico in the 1940s. The opera follows Oppenheimer and the rest of the scientists and aides and their families, holed up in close and distressing quarters, working under great pressure and often filled with moral misgivings about what they were doing yet at the same time rushed by high-level U.S. government officials to complete, test, and roll out the finished product, no matter what.

As you might imagine, the opera is fascinating. Adams' music is, well, certainly up to one's expectations of him, and certainly if you like his other stuff, including the fascinating and groundbreaking Nixon in China, you'll like this.

The libretto, written by Peter Sellars, is also a tour-de-force. It's based on a multitude of sources, including documents and literature. The result is a collage of poetry (Oppenheimer himself was inordinately fond of poetry, and as a young man considered that as a career option), history, biography, and philosophy. In addition to the historical documents and letters, Sellars uses abundant quotations from the Bhagavad Gita, and from the poetry of John Donne, Charles Baudelaire, and Muriel Rukeyser. The result is a mixture of fact and imagery that dazzles, but can occasionally be befuddling.

Excellent notes on the Libretto are found on the Metropolitan Opera's official site. Click: Watch & Listen > Saturday Matinée Broadcasts > All Operas.

Things I liked: The singing was first rate (and that's saying a lot, as the music is quite difficult).

The sets and staging/direction (and even the costuming and makeup) were spectacular -- some of the best and most evocative I've ever seen. And extremely creative, yet always in the service of the story, never detracting from it.

The music was, as mentioned, fascinating, especially during certain sequences like the very end.

Things I didn't like (don't be put off by my grousing -- I like to analyze things): I think the thing should have been edited a bit, either libretto-wise or music-wise.

Namely:

(1) There's a bedroom sequence in which Oppenheimer muses for a full 7 minutes solely about his wife Kitty's hair. That's when I turned the recording off the first time, and started up again at a later date.

(2) Kitty Oppenheimer has one or two scenes with Oppenheimer, which are fine, but the rest of her scenes are solos, and usually very long ones. That would possibly be fine if what she was singing was germane to the story. However, she sings only abstract images and rootless musings which make little or no sense, at least the way the music has them sung. Bits of Rukheyser's or Baudelaire's poetry are very hard to follow and make any sense at all of, unless the music helps the phrases cohere and relate, and unless the music conveys her state of mind and the point of it all. I was left with the impression that Kitty was losing her grip on reality, which was not the actual case. So, in the end, I don't know if this was a libretto problem or a music problem. I think would have been GREAT if Kitty had sung at least a few sane human sentences, to ground her into reality like Oppenheimer's lines were grounded so effectively. Conclusion: If you see the opera, get acquainted a bit with the sources of the libretto, especially the Rukheyser. See the extensive notes on the Met site, and/or check Wikipedia.

(3) It seemed long to me at three hours, largely because of items (1) and (2) above. I think a little editing could have been in order, as it got slightly repetitive and long. To me, that is.

Upshot: Do see it, or watch the DVD, if you have a chance.

I personally would recommend seeing the fabulous 90-minute "Making of" DVD, Wonders Are Many: The Making of "Doctor Atomic", even more than the opera itself! (Amazon reviewers agree with me.) It was exciting, thrilling, abundantly creative and informative, and there was never a dull moment. Frankly, you get to experience the opera without sitting through it. Excellent stuff!

As far as I am concerned John Adams and Peter Sellers are THE most important creators of total theater in this young century. Adams' music is breathtaking, and Seller's libretto and direction are beyond compare. Why is it a flawed masterpiece? The dancing, which helped at first and then became distracting. And, after the Vishnu episode, which should have introduced the explosion, one had to wait forty five minutes of wasted time (and wasted, gorgeous music) for it to take place . . . and it fizzled. But Findlay's rendition of Donne's poem must be the most dramatic moment of my operatic life. So what if, as one reviewer said,Oppenheimer was Jewish? Jews feel the burden of submission to their Sadistic God just as Christians do. I played it twice and howled in pain throughout. One last thing. Those wide eyes, making the singers look like lemurs. On the other hand, I was could share their visions! What absolutely magnificent singing of a most difficult score! Wait, I just changed my rating from four to five. This opera points a finger to those who initiated the atomic age, and why this country is so afraid of it. It might just reap what it sowed.