2. Doctor Polio Meets Doctor Atomic

2019 ◽  
pp. 14-26
Keyword(s):  
Doctor Atomic

scholarly journals Doctor Atomic (review)

Notes ◽  
2010 ◽  
Vol 66 (3) ◽  
pp. 628-629
Author(s):  
Alicia M. Doyle
Keyword(s):  
Doctor Atomic

scholarly journals Doctor Atomic to Premier in San Francisco

Physics Today ◽  
2005 ◽  
Vol 58 (9) ◽  
pp. 28-30
Author(s):  
Mark Wilson
Keyword(s):  
San Francisco ◽  
Doctor Atomic

History and Faust in Doctor Atomic

2019 ◽  
pp. 422-448
Author(s):  
Rebecca Cypess
Keyword(s):  
Thomas Mann ◽  
Number Of Factors ◽  
Historical Authenticity ◽  
Doctor Atomic

The libretto of John Adams’s Doctor Atomic (2005), by Peter Sellars, was “drawn from original sources”—one of a number of factors that endowed the opera with an aura of historical truthfulness. Yet from its inception, the composer also acknowledged a relationship between the opera and Faust mythology, even as he downplayed its impact on the work. In fact, analysis of the libretto and the musical setting reveals that they contain numerous references to earlier Faustian works, musical and literary. These references take the form of direct verbal quotation, the adaptation of musical material, and the incorporation of Faustian themes. The opera’s engagement with Faustian works by Baudelaire, Thomas Mann, Goethe, Stravinsky, and Liszt conflicts with attributions of historical authenticity that appeared at the time of its premiere.

Opera as Film

2018 ◽  
pp. 398-417
Author(s):  
Yayoi U. Everett
Keyword(s):  
Embodied Cognition ◽  
Case Studies ◽  
Hierarchical Model ◽  
Conceptual Metaphor ◽  
Narrative Construction ◽  
High Definition ◽  
Conceptual Metaphor Theory ◽  
Cognitive Research ◽  
Metaphor Theory ◽  
Doctor Atomic

The advent of high-definition broadcast of opera has transformed the ways in which we attend to opera as film. It establishes a narrative angle through filmic devices that shape the viewer’s multimodal experience in an entirely different way from viewing opera live in a theater. Building on recent studies on embodied cognition of film and multimedia, this chapter examines audio-visual congruence as a key to understanding the viewer’s experience of opera in its remediated form as film. To this end, it refers to the concept of multimodality, Anabel Cohen’s hierarchical model of narrative construction, and Mark Johnson’s conceptual metaphor theory. Case studies include recent productions of Richard Wagner’s Die Walküre, John Adams’s Doctor Atomic, and Kaija Saariaho’s Adriana Mater. This study examines the distinctive types of audio-visual congruence established in these works and discusses further avenues for exploring opera and film through the lens of hermeneutical and cognitive research.

Doctor Atomic and Doctor Genomic

2008 ◽  
Vol 5 (4) ◽  
pp. 351-353
Author(s):  
Marianne J. Legato
Keyword(s):  
Doctor Atomic

scholarly journals Anhalt’s Oppenheimer: The History of a Never-Finished Major Work

2015 ◽  
Vol 33 (2) ◽  
pp. 101-114
Author(s):  
John Beckwith
Keyword(s):  
Atomic Bomb ◽  
John Adams ◽  
Major Work ◽  
Archival Documents ◽  
History Of ◽  
Doctor Atomic

The “opera fantasy” Oppenheimer by Istvan Anhalt (1919–2012) survives as a draft libretto and 1,100 pages of musical sketches, on which the composer concentrated from mid-1988 to late 1991, partly with the collaboration of the playwright John Murrell. Prolonged negotiations with the Canadian Opera Company eventually collapsed and the work was abandoned. Using prior research by Peter Laki and archival documents (especially the composer’s previously inaccessible “diary” of the opera’s progress), this article traces Oppenheimer’s compositional development and the COC production talks, compares it to the 2005 opera Doctor Atomic by John Adams and Peter Sellars (both works deal with J. Robert Oppenheimer’s role in creating the first atomic bomb), and speculates on possible affinities between the existing sketches and other Anhalt compositions of the same period.

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