PHILIP GLASS: Kepler (complete opera) (2011)
Performers: Landestheater Linz /Dennis Russell Davies
Vocalists: Martin Achrainer (Kepler)/ Cassandra McConnell (Soprano 1)/Karen Robertson (Soprano 2)/Katerina Hebelkova (Mezzo)/Pedro Velasquez Diaz (Tenor)/Seho Chang (Baritone)/Florian Spiess (Bass)/
Producer: Felix Breisach
Director: Dr. Thomas Königstorfer
Studio: Orange Mountain Music/ORF OMM5004 [Distr. by Harmonia mundi]
Video: 16:9 1080i Color
Audio: DTS 5.1, PCM Stereo
Languages: German, Latin
Subtitles: German, English
Length: 120 minutes
Rating: ***
By now, there cannot be very many readers who have never heard of Philip Glass nor are unfamiliar with his trademark repetitive, hypnotic and, frequently beautiful style. I have seen live or at least heard all of Glass’ stage works and I believe (as do several musicologists whom I have read on the topic) that the composer’s place in history will be, yes, the creator of “minimalism” but, more properly, a style and voice that is uniquely and definably his own. However, I and others also believe that, of his vast output, it is his theater works; his operas in particular, for which he will be especially remembered. From the groundbreaking “Einstein on the Beach” to “Akhnaten” to “Galileo Galilei” to the present “Kepler”, Glass has returned several times to themes having to do with real men of science or religion and the internal conflicts that sometimes arise. I approached this new live video of “Kepler”, from the Landestheater Linz – who commissioned it – with anticipation. So, where in the mix of captivating Glass operas is “Kepler”?
First, taken directly from Glass’ own website is a concise summary by the present conductor and Glass’ foremost interpreter, Dennis Russell Davies: “’ Kepler’, composed by Philip Glass for the Upper Austrian State Theater and ‘Linz09’ (European Capital of Culture) deals with the intellectual cosmos of the great astronomer Johannes Kepler who was teacher of mathematics in Linz from 1612 to 1627, during which time he developed his ground-breaking laws of celestial movement. The opera is not concerned with biographical details, but deals instead with the fundamental questions that Kepler was obsessed with, and which he hoped scientific principles would help answer. Social and political upheaval in the wake of the Counter Reformation shaped the world in which Kepler, surrounded on all sides by war and religious strife, doggedly sought a divine order which he was certain could be found in nature. ‘God has based everything on numbers’ was the motto that stimulated his research. Philip Glass was particularly inspired by Kepler’s conviction ‘without real knowledge life is dead.’ Austrian librettist Martina Winkel has based her text on original words in German and Latin by Kepler, with additional relevant passages by the Baroque poet Andreas Gryphius and a short excerpt from the Old Testament Book of Genesis. The original Linz stage production was conceived and directed by Belgian video artist Peter Missotten.”
I will say that one reason seeking out some background info was needed is that Orange Mountain does not provide a notated booklet of any sort in the DVD packaging. I know a lot about Philip Glass and his music and just enough about the work of Johannes Kepler to have watched and “get the gist” but my fear is that if anyone watching this DVD does not know any Kepler or astronomy (such as his laws of planetary motion…) then the plot might be hard to catch. In fact, if “Kepler” has a flaw it is that the drama is entirely internal within Kepler’s thoughts, dreams and ponderings. Martin Achrainer, as the astronomer, is a wonderful singer and presents a youthful, vibrant, somewhat introspective persona as Kepler but he is the only singer who portrays an actual person. The other singers, three female and three male all do a very fine job and their words represent the inner thoughts of Kepler who tries to formulate his theories while coming to grips with the implied conflicts between his findings and the accepted religious beliefs of the time. Their physical movements are interesting as well. Through body movement as well as some slight props intended to represent axes and parabolic motion the bodies represent, on one level, the six planets known at the time.
The staging is also quite good, contemporary and fetching thanks to the vision of artistic director Heribert Schröeder. Martina Winkel’s libretto shows us a Kepler who struggles with geometry, physics, superstition and religion at a time when things such as these were often very overlapped and indistinct. Kepler felt that the scientist should appreciate God through the understanding of his clockwork universe rather than take the Bible literally. I did enjoy “Kepler” as I do all of Glass’s works, to be frank. In the range of his operas, I cannot say that this is within my own personal “top five” but both the music and the staging and, certainly, the performances do not disappoint. It’s just that this piece is very cerebral. Following it requires more attention to the words than ordinarily required. The “plot” requires that we think like Kepler, which is not easy.
If my friends at Orange Mountain are reading, I would really welcome at least an audio recording of both “The Voyage” as well as “Galileo”. Videos would be ecstasy for true Philip Glass fans!
— Daniel Coombs
