‘Gospel’ modernizes tale of Jesus
John Adams’ passionate oratorio makes dazzling debut
The title character of “The Gospel According to the Other Mary” arrives in a state of extreme distress. “The next day in the city jail,” she sings, “we were searched for drugs.”
Is this the Biblical Mary Magdalene? Or a contemporary one?
Turns out she’s both. Thursday night at Davies Symphony Hall, John Adams’ “Passion oratorio in two acts” made its overdue San Francisco Symphony debut, telling the story of two Marys: the Mary Magdalene of the traditional Gospels, and the Mary who might be her modern counterpart, one who lives in poverty and serves the poor, works tirelessly in soup kitchens and laundries, organizes protests and hunger strikes.
Adams turns 70 this month, and the Symphony is celebrating the landmark with a series of programs highlighting his achievements. Last week, the Berkeley composer curated a SoundBox program that included his compositions; next week, the Symphony gives the Bay Area premiere of his “Scheherazade.2,” a “dramatic symphony” featuring violinist Leila Josefowicz as soloist.
But “Gospel,” which premiered at the Los Angeles Philharmonic in 2012, occupies a special place in Adams’s catalog. With a libretto by Peter Sellars culled from writings by Hildegarde von Bingen, Primo Levi, social activist Dorothy Day, poets Louise Erdrich and Rosario Castellanos – and pointed references to César Chávez, homelessness, organized labor and women’s struggles – this may be the composer’s most fervently operatic non-opera. It’s certainly an uncommonly provocative Passion for our times.
Bach’s Passions are the model, and Jesus, of course, is at the center of the story. But Adams’ perspective puts the focus on the volatile Mary, her more sedate sister, Martha, and their brother, Lazarus, as the primary characters. We see the action through their eyes; Act I centers on the raising of Lazarus, and Act II brings the crucifixion. Jesus, however, isn’t one of the characters; his words are divided between the women and a trio of countertenors. The women’s point of view never wavers: a scene describing Mary washing Jesus’ feet becomes a central episode, one that assumes a vertiginous power.
Adams’ score is a marvel. Packed with choral numbers, arias, and beguiling orchestral interludes, the music broods and surges. Just as impactful are the moments of quiet introspection. One hears keening string parts, startling brass outbursts, otherworldly writing for piano, cimbalom, cellos and double basses. A jazzy clarinet rises to the surface; percussion comes to the fore in the Act II earthquake. Thursday, there were moments of sluggishness, as if the forward motion might stall. Yet, much of the performance was distinguished by music of tremendous drive and vitality. The chorus does a large portion of the heavy lifting, commenting on the action in thrilling episodes worthy of Old Testament prophesies.
Under stage director Elkhanah Pulitzer, Thursday’s performance unfolded on three levels, with the orchestra onstage, the singers on a raised platform, and the Symphony Chorus on an upper tier. Lighting by Seth Reiser, costumes by Christine Crook and sound by Mark Grey made effective contributions.
The singers performed with urgency. Mezzo-soprano Kelley O’Connor, singing with pure tone and shapely phrasing, was an eloquent Mary. Mezzo Tamara Mumford made alluring contributions as Martha. Tenor Jay Hunter Morris was a Lazarus of unflagging force. Countertenors Daniel Bubeck, Brian Cummings and Nathan Medley achieved a silken blend. Directed by Ragnar Bohlin, the Chorus sang with power throughout.
Grant Gershon, making his San Francisco Symphony debut, conducted with precision and empathy. The resident conductor at Los Angeles Opera, Gershon is becoming an Adams specialist; look for him this fall, when he returns to San Francisco to conduct the world premiere of the composer’s “Girls of the Golden West” at San Francisco Opera.