The Latin American Christ in Osvaldo Golijov's La Pasión según San Marcos and John Adams' The Gospel According to the Other Mary

This dissertation explores the portrayal of Jesus Christ as a Latin American figure in contemporary musical compositions by analyzing Osvaldo Golijov’s La Pasión según San Marcos and John Adams’ The Gospel According to the Other Mary. The central problem addressed is the multifaceted challenge composers face in conveying Christ’s message within diverse cultural, theological, and societal contexts. Through a comprehensive analysis of these works, my research seeks to elucidate how these composers interpret Christ’s identity and significance within the Latin American experience. The research procedures involve a thorough examination of textual sources, musical elements, cultural contexts, and theological frameworks embedded in the compositions. Textual analysis encompasses libretto origins, linguistic nuances, and thematic trajectories, illuminating the composers’ narrative choices and theological perspectives. Musical analysis examines instrumentation, harmonies, melodies, and structural metaphors to decipher the compositions’ symbolic meanings and cultural resonances. The results reveal distinct artistic visions and interpretations of Jesus Christ, reflecting diverse cultural landscapes and theological viewpoints. Golijov’s composition immerses listeners in Latin America’s vibrant rhythms and spiritual traditions, portraying Christ as a beacon of hope amidst adversity. In collaboration with librettist Peter Sellars, Adams’ work explores contemporary themes of redemption and social justice, refracting the Passion narrative through the lens of Mary Magdalene and the California farm workers movement. The conclusions drawn emphasize the enduring relevance of Christ’s message across temporal and cultural divides, as evidenced by the resonance of these compositions. Musical interpretations of Christ serve as powerful vehicles for shaping cultural perceptions, theological discourse, and societal connections. The study underscores the significance of engaging with diverse artistic representations of Jesus Christ, fostering empathy, understanding, and dialogue across diverse perspectives. In conclusion, the exploration of Christ’s portrayal in contemporary music transcends artistic interpretation, delving into the intricate interplay of culture, theology, and societal discourse. Through the lenses of Golijov’s and Adams’ compositions, this research highlights the profound impact of Christ’s message on cultural and theological dynamics, inviting scholars, performers, and audiences to embark on a transformative journey of reflection and understanding.