Who would have thought that the discovery of elliptical orbits could serve as musical inspiration for composing an opera? Philip Glass, of course.

This past November, Glass’ most recent opera, “Kepler,” brought the scientific achievements of famous astronomer Johannes Kepler to life during its stint at the Brooklyn Academy of Music from the 18th to the 21st. The opera, which premiered at the Upper Austrian State Theatre on September 20th, takes the audience through the tribulations Kepler faced in discovering the existence of elliptical orbits, living through the Thirty Years War, and struggling with his dual identity as theologian and astronomer.

Much like the subject of Glass’ 18th opera, entitled “Galileo Galilei,” Kepler grappled with the question of religion’s place among his scientific findings. This dilemma is the main focus of Glass’ opera but fails to yield any true conflict. Kepler never speaks out against the church nor is he punished for his findings. Instead, the audience has to sit through an operatic description of Kepler’s theories of geometry, elliptical orbits, scientific method and finally, the wonders of the dodecahedron. All of which Martin Achrainer, as Kepler, sings with gusto. Unfortunately in “Kepler,” for the most part, no amount of gusto can prevent monotony.

Because the opera is entirely based on biographical elements, perhaps the boredom is derived from Kepler’s own life. Not speaking out against the scientifically repressive church and affirming astronomy as way to worship God resulted in a pretty pious life but creates a pretty dull opera. The most exciting aspect of the opera is when Kepler becomes threatened by the violence of the Thirty Years War. As an emotional Kepler, Achrainer sings out to the audience about his fear of being burned to death. The opera never trails far from history as even this theatrical segment uses Kepler’s own words to communicate the looming danger of war.

In fact, lyricist Martina Winkel, used the words and writings of Kepler (with additions from the Book of Genesis) to compose the entire libretto, or text on which the opera is based. Although this bestows the opera with unquestionable historical accuracy, it also makes for some pretty strange arias. In Act 2, Kepler sings about all the scientists who hate him and lists the names of his adversaries. In contrast to the act’s dramatic score, this lengthy and candid list was actually met with laughter on the part of some audience members. Although Glass’ opera is entirely composed of historical facts, a verbatim list of Kepler’s enemies just comes across as silly.

With a fairly monotonous plot and underwhelming arias, the strength of “Kepler” lies in the music. The Bruckner Orchester Linz, conducted by Dennis Russell Davies, played Philip Glass’ score gracefully and with skill. Although the details of Kepler’s life became uninteresting after the first act, Glass’ score, with whirling flutes and exceedingly rhythmic percussion, was nothing short of captivating.