The Gospel According to the Other Mary

Apr 13, 2012

The Gospel According to the Other Mary

An oratorio

Libretto by Peter Sellars based on Old and New Testament sources and with texts by Dorothy Day, Louise Erdrich, Primo Levi, Rosario Castellanos, June Jordan, Hildegard von Bingen and Rubén Darío

First Performance, May 31, 2012 at Disney Hall, Los Angeles
Los Angeles Philharmonic, Gustavo Dudamel, conductor
Los Angeles Master Chorale, Grant Gershon, music director

Kelley O’Connor, mezzo soprano
Tamara Mumford, contralto
Russell Thomas, tenor

Daniel Bubeck, Brian Cummings, Nathan Medley, countertenors

Act I

Scenes One and Two

Howling and shrieks of pain of a woman in withdrawal from a drug addiction in the jail cell next to Mary’s rend the night. The woman beats her head on the metal bars, now lashing out, then weeping. Mary cannot blot out the sound of human suffering. The chorus sings the words of the prophet Isaiah. “Howl ye; for the day of the Lord is at hand; it shall come as a destruction from the Almighty… and they shall be afraid: pangs and sorrows shall take hold of them; they shall be in pain as a woman that travaileth…”

Mary and her sister Martha have opened a house of hospitality for homeless and unemployed women which survives on small donations and small miracles.

They have welcomed Jesus into their family and he stays with them when he comes to Bethany. Martha is concerned that Mary does not help out more with the work in the house and asks Jesus to have a word with her. Jesus tells Martha that Mary has chosen a path that cannot be taken away from her. She is struggling to learn how to pray.

The air is gently radiant and alive – women’s voices sing “On that day of love I descended to the earth: it moved like a bird crucified in flight and smelled of damp herbs, of loosened hair, of a body transfixed by the noonday sun… Through my skin the ages ran: light was made, the sky was rent and found eternal ecstasy near the sea. The world was the perpetual shape of awe…”

Scene Three
Mary and Martha’s brother, Lazarus, is diagnosed with a terminal illness. The sisters ask Jesus to come back to Bethany to heal their brother, but Jesus deliberately lingers for a few days in another city and lets Lazarus die in Bethany. This sickness, Jesus says, “is not unto death, but for the glory of God.”

The orchestra depicts the agony and the anguish of Lazarus’ last hours. In a neighborhood where too many mothers bury their sons and daughters and too many women live with the pointless, needless and violent loss of a generation of young men, Mary’s grief is acute and numbing. She completely withdraws into herself, and into her grief.

Jesus arrives four days after Lazarus is buried. Martha greets him reproachfully: “If you had been here, my brother would not have died.” Mary refuses to come out of her room (“In My Own Quietly Explosive Here”).

Martha and Jesus enter Mary ‘s room quietly. Jesus sees and touches the wounds on Mary’s left arm; she has tried to commit suicide. Jesus weeps. Mary tells him “I love You to my farthest limits; to the trembling tips of my fingers, the vibrating ends of my hair.”

They go to Lazarus’ grave. It is a cave with a stone rolled over its mouth. Jesus asks the people nearby to take away the stone. The grave reeks with a terrible stench. Jesus withdraws to pray. Mary panics. “Where are you? Why do you turn your face from mine?” She is on the steep slope of another breakdown in the face of the gaping door of her brother’s grave, and the back of a man who has given new meaning to her life.

Jesus calls loudly for Lazarus to step out of the tomb. Slowly, strangely, Lazarus emerges from the cave, his body and face still wrapped in linen. Jesus asks people to free Lazarus, to cut him loose, to let him breathe.

Like a delicate and iridescent spring shower, the words of the prophet Isaiah hover in the air: “Drop down, ye heavens, from above, and let the skies pour down righteousness: let the earth open, and let them bring forth salvation…as the earth bringeth forth her bud, and as the garden causeth the things that are sown in it to spring forth…”

Scene Four
Two weeks later, and six days before Passover, Jesus returns to Bethany for supper with Mary, Martha, and the resurrected Lazarus. A small crowd has gathered to see Jesus and the man who came back from the dead. Martha is serving, and suddenly Lazarus rises from the table, tongue freed and spirit flying, and begins to sing with wave after wave of ecstatic life force.

Mary unwraps expensive perfumed oil and massages Jesus’ feet, wiping his feet with her hair, and filling the room with rich, intoxicating aroma. The extravagance, tenderness, sensuality, and humility of her gesture contrast sharply with her past lives, as a hard woman living with hard men. Her furious words:

“I’m walking out
my face a dustpan
my body stiff as a new broom
I will drive boys
to smash empty bottles on their brows”

Cut to the hurt that she still carries with her:

“It is the old way that girls/get even with their fathers
by wrecking their bodies on other men.”

In the same moment, a chorus mystically fills the room with the fragrance of the Spirit that gives all life, cleanses all beings from impurity, washes away all guilt, salves all wounds, arousing all, resurrecting all.

There is grumbling from young workers in the house that Mary has spent precious money on luxury goods that could have been used to feed the poor. Jesus answers that the poor will always be with us, make demands on our conscience and test our generosity. He tells everyone that he will soon leave this world. Mary is preparing his body for burial.

Martha sings (“We know there will be no utopias”) of the bad smells, bad food, gross injustices, and violent, difficult poor people that constitute the harsh reality of life on skid row. She sings of affliction. And she sings of a vow of poverty that is unromantic and day after day devastating, anger inducing, but also, perhaps, a spiritual path. She is ashamed not to be able to offer more, and better to her guests.

This year, the Passover meal will be modest, but the humanity of the guests is rich. Jesus looks with tenderness and gratitude on the small group of people who will share his last days on earth. How is this night different from all other nights? The Passover ritual reaches across the centuries to affirm a continuum of suffering, sacrifice, solidarity, and hope. “This year in fear and shame, next year in virtue and justice.”


In a searing night vision, Jesus tears himself from his cross, chops it down with an axe, and blazing with the phosphorescent colors of the New World, demolishes all hierarchies. He buries his parents alive, and sets out for Beirut and for Damascus, where restless and hungry crowds are gathering in the streets demanding revolution.

Scene One
Mary and Martha are awakened by pounding on the door and the voices of police. Jesus, already knowing what the next days will bring, gives himself up to the authorities and asks them to leave the rest of his companions alone. Some community members are already violently resisting arrest; one of them cuts off the right ear of a cop with a knife. Jesus warns that those who take up the sword shall perish with the sword. Words of the prophet Isaiah echo above the street noise: “They shall not hurt nor destroy in all my holy mountain… In returning and rest shall ye be saved; in quietness and in confidence shall be your strength…” Jesus lifts the ear from the ground and restores it, healing the man.

Scene Two
Arrests continue throughout the day. The group of women is specifically targeted and subjected to brutal tactics. They try to reason with the police; they are not intimidated, they hold their ground. This fearless challenge by women inflames the rage of their attackers and increases the levels of violence.

That night, Martha reflects on the day’s events – up before dawn, the picketing, the group meetings, the absurd charges brought against them as they demonstrated for the rights, fair wages and inviolable humanity of the poorest workers in the state. While César Chávez and Dolores Huerta negotiate with the Teamsters and Jesus is arraigned before Pilate, the women, mostly Mexicans, hold prayer vigils until dawn. Back in prison again, surrounded by angry guards, with the bitter taste of steel and concrete in their mouths, the women pray: “Jesus, incomparable forgiver of trespasses, hear me; Sower of wheat, give me the tender bread of your hosts; give me, in the face of furious hell, a lustral grace from rages and lusts… that upon dying I will find the light of a new day and then will hear my “Rise up and walk!”

Scene Three
The orchestra paints the thick gray dawn over Golgotha, the “Place of the Skull.” The hounded Jesus drags the cross, scraping the pavement, moving through a harrowing admixture of chaos, bloodlust, chatter, and dread, while the women follow weeping. “Weep not for me, but weep for yourselves and your children” he tells them. “Behold, the days are coming, in which they shall say, blessed are the barren, and the wombs that never bare…”

Jesus is nailed to the cross and hoisted. Hanging in the heavy air, sheets of pain racking his being, he looks down to see Mary at the foot of the cross. Then he sees Mary, his mother. He looks into her eyes and says “Mother, behold thy son.”

Scene Four
The sky darkens and it begins to rain. Night falls, and Jesus is still hanging on the cross. The rain dissolves into tears. His broken body struggles; his strength becomes “a mortal strength, subject to love.” The Other Mary stays with him through the night, sharing his agony. Martha and Lazarus are at her side. The orchestra shivers, passes out and stirs again across the millennia and the minutes of time on the cross. A clarinet solo pierces the deepening darkness. Finally Jesus roars at the Father who abandoned him. “Ash to ash, you say, but I know different. I will not stop burning.”

Scene Five
The women take Jesus’ body to a fresh grave in a nearby garden. They perfume the corpse with ointments and spices and bind it with linen. With the quiet consolation of lingering memories, they are left to gently handle the weight of the dead flesh, and the weight of their grief, as they lower the body into the tomb. An immense, serene, otherworldly brass chorale underscores the failure of this man whom they loved so deeply and whom they thought would change the world.

The stillness of the night is broken by the trill of frogs.

Three days later, after finally succumbing to her first deep sleep, Mary is awake before dawn. It is spring. The tiny frogs pull their strange new bodies out of suck holes, “each in a silver bubble that breaks on the water’s surface to one clear unceasing note of need.” She stumbles out of bed and goes to the edge of the pond to see their bodies “transformed at last, and then consumed in a rush of music.”

Scene Six-final scene

It is still dark when Mary decides to go back to Jesus’ tomb. She arrives with Martha in silence at the mouth of the cave in the cold night air. As the sun rises, the ground shifts under their feet. An earthquake. The rock splits. Security guards black out. The tomb is empty – or are those angels in blinding white asking her why she is crying?

Mary stands weeping and shuddering in front of the open grave, desperately looking for Jesus. A gardener working on the grounds crew comforts her. He asks why she is crying. He asks her who she is looking for. She looks up. She understands. The gardener is Jesus. He speaks her name.

— synopsis Peter Sellars

Comments (20)

April 13, 2012

you are a genius.

Grant L.
April 13, 2012

American Sublime. I'm considering making a trip to CA for the premiere.

Barry Peterson
April 13, 2012

very much looking forward to this. El Nino I believe to be a real modern day masterwork and extremely potent in our time--especially when presented with the film. But even the music alone is breathtaking.

Good luck with this, folks. Hope you are happy with it. Again, really looking forward to the experience....

Liduine Resuer
April 14, 2012

It is programmed on 8 juni 2013 (2013, june 8th) Concertgebouw Amsterdam. I am already looking forward to it!

Is this also the european premiere?

Dan D.
April 17, 2012

Maybe I'm just grumpy today, and I readily agree that El Nino is a modern day masterwork. And I'm confident that this piece will be excellent as well. But... a part of me is disappointed. First, I'm tired of new large oratorios and other works being cobbled together from other written sources. I'd much prefer one librettist writing an original, unified piece with the composer. To me it signals that the composer is reluctant to take a risk, and is unwilling to collaborate with an equal. Not to take away from Sellars, but I'd rather see a Goodman libretto than a Sellars synopsis. And second, not to be anti-religious nor to presume anything about Adams' religious views, but do we need another modern day passion? It seems like easy fodder for a dramatic work, since you can practically import two thousand years of religiosity into your work without having written a note. Much harder to create a new dramatic work that the composer/librettist feel passionately about. If Bach or Poulenc writes religious works with great personal conviction, great. Is Adams doing that here? I suppose he'd say he's writing about modern themes, and surely he is, but then I'd rather see him find a modern setting. Of course composers can write great religious pieces and not be religious, but I can't get past the feeling that we don't need more of this borrowing of old themes and old sources. Let's do something completely different! As I say, I think I'm just grumpy today. And of course I'm eager to hear the music, which I have no doubt will be wonderful.

Ten-word correspondent
April 29, 2012

Dear Grumpy Dan D',

Write what you want to hear.

Mark K
May 4, 2012

You seem like a neo-com puppet with this commission Mr Adams - what happened?

Andi Lamoreaux
May 9, 2012

I hope the work comes to the Midwest soon. It sounds most intriguing.

May 21, 2012

is there an online resource that indicates other performance dates and venues? i know the work will be given in nyc in March 2013 (and again in LA that same month), but am wondering about other confirmed dates/locations.


May 22, 2012

This synopsis is so moving in every way and touches on so many age-old and modern issues. I cannot wait for its musical fruition.

May 22, 2012

To nycpeter: this is fyi.
The piece is being premiered by LA Phil next week - Thursday 05.31 through Sunday 06.03 - at the Walt Disney Concert Hall.
Next March (7, 8, 10) LA Phil repeats it at home and then takes it on the road - London 03.16, Lucerne 03.20, Paris 03.23, NY 03.27.

May 22, 2012

thanks so much!

May 24, 2012

I am so looking forward to the performance on Friday

June 1, 2012

I so wanted to like this piece of music. The orchestra was amazing, the chorale amazing. The piece was terrible. Worst 1.5 (yeah...1.5 hours for the first act) hours I've ever spent listening to music. Awful. Truly awful. We left at the intermission with half of the audience. When we came back at 10:45, it was still going. Don't waste your time.

June 1, 2012

LB, the first act, I agree, totally missed the mark. Very dreary, sullen music that just kind of sat there, almost entirely in an octatonic context. I enjoyed the first 15 minutes or so, but the piece sank very quickly thereafter. HOWEVER, the second act, that's where all of the real music and drama happened. The second act was SUBLIME, and you should have stayed for that. It was worth enduring the first act. This is sort of the opposite of El Niño. The first half of that piece is incredible, but the second half, dreary...yet again.

There are three reasons the first act didn't work.

1. Adams' solo vocal writing these days is pretty much extended recitative, and consequently have no capability of driving actual drama. Adams attempted to create drama with the orchestra and chorus in the first act, but both roles were secondary to the soloists (so much [bad] text to get through!), and so they were overshadowed by the high volume, undramatic, uninteresting, anti-lyrical solo vocal writing. Also, the way Adams repeats words, it's so disconnected from the rhetorical effect of the text. Instead of repeating, how about some extended melismas? Make them sing!

2. The disconnect between the soloists and the orchestra is so obvious, so clear. There is no organic connection between the two.

3. The libretto is a disaster. I felt the same way about Dr. Atomic when I attended both the dress rehearsal and the premiere in San Francisco. Sellars is obviously not a librettist, and if Dr. Atomic didn't prove it to the world, this piece certainly will. The words are unpoetic and un-singable, it feels pieced together and does not serve a real dramatic whole, and it's lacking in depth and energy. I really, really miss Goodman. She's the real deal. I'm sure Sellars has some sort of cerebral justification for his choices, but they don't work. They just don't.

Having said all of that...

It is true that the piece as a whole does not work, but, it has moments of true power. In the first act, the first chorus was wonderful, and I especially loved the resurrection of Lazarus. I always thought of that moment as a glorious one in scripture, but Adams makes it creepy, almost zombie-like with the babbling chorus. And, now thinking back on the story, it is kind of creepy to raise someone from the dead!

The second act was just powerful. Adams finally delivered some orchestral and choral pyrotechnics (75 minutes late, but better late than never!), and the death and resurrection of Christ was especially powerful. Again the babbling chorus (I love the relationship between both resurrections) is really effective here, and the way it leads to the end...the repeated "Mary, Mary, Mary..." Wow. It was beautiful. It was the first time in the piece that I really had an emotional response. I can't remember the exact musical details, but it was stunning. Just stunning.

And the cimbalom! WOW! What an effective use of such an exotic sound. Adams went to town with that instrument, and Chester Englander did an amazing job. Actually, the orchestration, in general, was incredible. This piece shows a marked growth in Adams' already masterful approach to orchestration. He demonstrated an entirely new level of insight and creativity in the orchestral machine, and the piece, on that level (which is no small level) is a true MARVEL.

So, all-in-all, as a dramatic vocal work, "The Gospel According to the Other Mary" falls quite short. But, so much about the work is marvelous, so I wouldn't dare consider it to be "bad."

And, I no matter what I think of this work or Dr. Atomic, I think that Mr. Adams is the real deal. He's an amazing composer, and I love most of what he's written, and I will forever honor that as a supporter of his music!!

a concerned fan
June 2, 2012

Dear John Adams,

I love everything you've ever written including THE GOSPEL ACCORDING TO THE OTHER MARY but I need to warn you... there is a bassist with your same name who puts out album after album of elevator music whose drummer's beats would drive any body not into elevator music mad. The only problem with this is that you are sometimes under the same artist on sites like iTunes spotify and the local cd shoppe.

I realize this matter is quite silly but for a second I freaked out thinking that you wrote cheesy elevator music.


a concerned fan

Mark Marcus
June 2, 2012

I was at Disney Hall for the world premier of 'The Gospel According to the Other Mary' on May 31. I sensed I was present the birth of a unique and great composition by John Adams in the first half of the concert, and I was confirmed in my opinion when I returned to my seat after the intermission to see that nearly half the audience had bailed. The work doesn't go down easy, like a bowl of ice cream. The music goes to some unexpected, unfamilier places, and it's going to take more than one hearing to get my bearings. As for the libretto, it obviously inspired John Adams and was the basis for his composition. I look forward to hearing it again in 2013.

R. Grayson
June 9, 2012

I attended the Saturday, June 2 performance. I loved it and so did the audience. The work contains some of the most amazing vocal music and orchestration I have heard from Adams thus far. The counter-tenor ensemble was beautifully written and sounded fantastic. Like many works of the great composers, it may undergo changes. But even if not, this work has permanence.

Michael Blanchard
March 14, 2014

John - Thank you for this incredible piece of music. Listening to it now, one year later, I am right back there. In London. In Paris. In New York. In Walt Disney Concert Hall. In rehearsal with Peter Sellars. Hearing Kelley O'Connor, Tammy Castleton Mumford, Daniel Bubeck, Nathan Medley, Brian Cummings, Russell Thomas, The LA Phil, Grant Gershon and my amazing brothers and sisters of the Los Angeles Master Chorale bring this incredible piece to life, I am once again immersed in one of the most profoundly moving and satisfying experiences of my musical life. I thank you and I thank them all.

I don't know if this work can ever be as powerful for those who experience it from without, as opposed to from within as we did. But if there is even a fraction of the impact, it is more than worth their time.

Thank you, John.

March 24, 2014

I was exceedingly disappointed. 1/4 audience walked out in SF, and justly so.

You are clearly a religious illiterate driven to insult things about which you are so thoroughly uneducated.

David Gockley tried to hide your miserable work by not publishing a synopsis. Afraid of the light of day, Mr. Adams?

With good reason. You are a tiresome, Bay Area termagant.

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