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Johannes Kepler Genesis BAMbill NOV 2009 2009 Next Wave Festival Adam Fuss, 2009 BAM 2009 Next Wave Festival is part of New Works and Diverse Voices at BAM sponsored by: 2009 Next Wave Festival Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer Presents Kepler Approximate BAM Howard Gilman Opera House running time: Nov 18, 20, 21, 2009 at 7:30pm two hours, no intermission An Opera by Philip Glass Libretto by Martina Winkel Bruckner Orchester Linz Conducted by Dennis Russell Davies Featuring soloists and choir of the Upper Austrian State Theatre, Linz Dramaturgy by Klaus Peter Kehr, Felix Losert Costumes by Karel van Laere English titles by Chris Bergen In German and Latin with English titles World Premiere: Sep 20, 2009, Upper Austrian State Theatre American Premiere: Nov 18, 2009, BAM Howard Gilman Opera House Commissioned by the Upper Austrian State Theatre and Linz 2009, European Culture Capital BAM 2009 Next Wave Festival is part of New Works and Diverse Voices at BAM sponsored by Time Warner Inc. Leadership support for the Next Wave Festival provided by The Ford Foundation. Support for Kepler provided by the Alfred P. Sloan Foundation. Additional support for BAM music programming provided by The Aaron Copland Fund. Endowment funding for Kepler has been provided by The Andrew W. Mellon Foundation Fund for Opera and Music-Theater. Kepler Soloists Kepler (baritone) Martin Achrainer Soprano 1 Cassandra McConnell Soprano 2 Cheryl Lichter Mezzo Katerina Hebelkova Tenor Pedro Velázquez Díaz Baritone Seho Chang Bass Florian Spiess Columbia Artists Management LLC Tour Direction: R. Douglas Sheldon | 1790 Broadway, New York, NY 10019 | www.cami.com The Bruckner Orchester Linz is the Philharmonic Orchestra of the State of Upper Austria. Upper Austrian State Theatre Artistic Director: Rainer Mennicken Administrative Director: Thomas Königstorfer The Bruckner Orchester Linz is supported by presto—friends of Bruckner Orchester Linz. Linz is the Cultural Capital of Europe for the year 2009. Notes Kepler, composed by Philip Glass for the Upper by Kepler, with additional relevant passages Austrian State Theatre and “Linz09” (European by the Baroque poet Andreas Gryphius and a Capital of Culture), deals with the intellectual short excerpt from the Old Testament Book of cosmos of the great astronomer Johannes Kepler Genesis. who was a teacher of mathematics in Linz from 1612 to 1627, during which time he developed The original Linz stage production was his ground-breaking laws of celestial movement. conceived and directed by Belgian video The opera is not concerned with biographical artist Peter Missotten. This production is a details, but deals instead with the fundamental continuation of the long-term collaboration questions that Kepler was obsessed with, and between Philip Glass and Dennis Russell which he hoped scientific principles would help Davies. answer. The staged production is currently scheduled Social and political upheaval in the wake of the to run through January 2010 at the Upper Counter Reformation shaped the world in which Austrian State Theatre. Kepler, surrounded on all sides by war and religious strife, doggedly sought a divine order, which he was certain could be found in nature. Synopsis “God has based everything on numbers,” was the motto that stimulated his research. Philip by Felix Losert Glass was particularly inspired by Kepler’s conviction, “without real knowledge life is Fragments from the life and ideas of the scien- dead.” tist Johannes Kepler are contrasted with seg- ments from the story of creation and poems by Austrian librettist Martina Winkel based her Andreas Gryphius, which portray Europe during text on original words in German and Latin the Thirty Years War. Synopsis Following a Prologue with the text from Kepler’s Wissen ist das Leben tot.”/“Without true own draft of an epitaph for his grave, Act 1 pres- Knowledge life is dead.”) ents a sequence of Kepler’s texts showing him as a scientist: his curiosity about the divine blueprint Gryphius: Augen. Optisches Paradoxon/Eyes. for the world and the planetary system (“Was ist Optical Paradoxon (“Was Augen sehn ist die Welt”/”What is the World”); his conception nichts”/“What eyes see, nothing is”). of the planetary system as a sequence of nested polyhedrons, along which the orbits of the planets In Act 2 the man behind the scientist comes run (“Die Erdbahn ist das Maß”/“The earth’s orbit into view. Kepler partly earned his living as an is the unit of measurement”). Kepler is convinced astrologist. He also prepared astrological calcula- that he is praising God with his astronomical tions for himself (“Ich habe das Datum meiner research (“Theologus esse volebam”/“A theolo- Empfängnis errechnet”/“I have calculated the date gian I wanted to be”). In the text of the biblical of my conception”). Among his records there is a story of creation (“Am Anfang schuf Gott”/“In pitiless self portrait (“Dieser Mensch hat ganz und the beginning God created”), Kepler repeatedly gar eine Hundenatur.”/“This man has completely interjects his conviction that the bible is not to the nature of a dog”). A list of his enemies that be misunderstood as a source of scientific insight Kepler drew up seems to have no end. Kepler (“Die Schrift ist kein Lehrbuch”/“The Bible is does not only blame others for this (“Alle brachte no instruction book,” “In der Theologie gilt das ich gegen mich auf.”/“I agitated everyone against Wort der Autoritäten”/“In theology the word of me.”). Despite all this, however, Kepler seems not the authorities counts,” “Heilig ist das Officium to have afforded astrology any high status (“Die unserer Tage”/“Holy is the Officium of our time,” niedrige Astrologie ist eine Krücke”/“Base astrology “Nicht spricht die Schrift”/“Holy Scripture does not is just a crutch”). speak,” “Nur Narren fürchten”/“Only fools fear”). Gryphius: An die Sternen/To the Stars (“Ihr Lichter, Gryphius: Auf die Nacht/Upon the Night (“Nacht, die ich nicht auff Erden satt kann schauen”/“Ye süße nacht! die mir das licht entdeckt”/“Night, you lights, to watch from earth I never can get tired”). sweet night, who showest me the light”). Systematic reflections bring Kepler to the idea that Kepler explains his scientific method (“Zuerst ent- the planets do not move, as previously thought, werfen wir uns in den Hypothesen ein Bild”/“First in circular orbits through space, but rather we design in our hypotheses an image”) and his along orbits in the form of “perfect ellipses” that intention of seeking to establish astronomy follow- evoke an inaudible “celestial music” (“Irrtümer, ing the example of recognized sciences (“Anstelle entstanden aus dem Dunkel meines Denkens.”/ der Himmelstheologie”/”Instead of a celestial “Errors originating from the dark of my thinking”). theology”). He is convinced that heaven is not a Kepler recognizes God in this wonderful creation place inhabited by “divine beings,” but rather a of the sky and prays to him (“Groß ist unser Herr”/ “clockwork” that can be scientifically explained “Great is our Lord”). (“Ich will zeigen”/“I want to show”). Kepler is certain that God created the human soul to enable Gryphius: Thränen des Vaterlandes/Tears of the scientific insight (“Gott schuf alles”/ “God created Fatherland (“Wir sind doch nunmehr gantz, ja everything”). mehr denn gantz verheeret!”/”So now we are com- pletely, yeah, more than that destroyed!”). Gryphius: Vanitas! Vanitatum Vanitas (“Die Herrlikeit der Erden/muß Rauch und Aschen werden”/“The The raging destruction of the Thirty Years War be- glory of this world/Must turn to smoke and ashes”). comes a threat to all mankind. Kepler knows there is no longer any secure refuge for him. All that is Further questions arise for Kepler (“Was nun, left for him is to return to his “peaceful studies” wenn auch die Erde in den Äther verdunstet?”/ (“Es ist bereits ein großer Trost, dass man uns “But what, if Earth as well evaporates into the nicht verbrennt”/“It is already a great comfort that ether?”). A principle motive of Kepler’s thirst for we are not burnt to death”). The Epilogue closes knowledge comes to the fore (“Ohne echtes the circle with the text of the epitaph. Bruckner Orchester Linz Conductor Oboe Chorus Director Dennis Russell Davies Franz Scherzer Georg Leopold Martin Kleinecke First Violin General Secretary Heinz Haunold, Concertmaster Clarinet Oliver Deak Mario Seriakov, Concertmaster Kathrin Moser Piotr Gladki Josef Fahrnberger Public Relations Ingrun Findeis-Gröpler Gernot Fresacher MMag. Isabel Biederleitner Miklos Nagy Peter Beer Bassoon Secretary Jana Mooshammer Johannes Platzer Manuel Höfer, MA Prof. Reinhard Pirstinger Clemens Wöss Gordana Pirstinger Stage Crew Simone Schreiberhuber Horn Herbert Wiederstein Ana Nedeljkovicz Robert Schnepps René Höglinger Elisabeth Nusko Christian Pöttinger Thomas Fischer Second Violin Markus Hurmann COLUMBIA ARTISTS Jana Kuhlmann MANAGEMENT LLC Elisabeth Eibensteiner Trumpet Wolfgang Zimmermann Gerhard Fluch Tour Direction: Andrej Tarnok Johannes Peer R. Douglas Sheldon Sorin Stefan Regina Angerer-Bründlinger Senior Vice President Alois Mares Josef Fuchsluger Trombone Karen Kloster Sayaka Kira Mayumi Shimizu Tour Coordinator Shushanik Aleksanyan Moshe Leibovitz Katharina Kiesenhofer Walter Schiffler Chris Minev Viola Albert Landertinger Executive Assistant Walter Haas Gunter Glössl Tuba Ann Woodruff Gerhard Paal Christian Penz Tour Manager Ulrike Landsmann Monika Hemetsberger Percussion Renee O’Banks Gerhard Pitsch Leonhard Schmidinger Backstage Manager Sabine Luger Alfred Steindl Joachim Brandl Markus Ridderbusch James Putnam Stefan Reichinger Driver Cello Sebastian Aigner Elisabeth Bauer Manuel Höfer Jim Uline Bernhard Walchshofer Hotel Advance Stefan Tittgen Piano Mitsuaki Vorraber Borys Sitarski Maestro! Travel & Susanne Lissy Touring, Bertin Christelbauer Harp Hotels Werner Karlinger Double Bass Flight Directors Stanislaw Pasierski Barbara Lintner Filip Cortes Executive Director International Air Alvin Staple Dr. Thomas Königstorfer Barabara Hirschvogel Sintec-Tur Herwig Krainz Artistic Director Domestic Air Dr.
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