SANTA FE, N.M.—The best review of the new opera runs thusly: “It is a riddle wrapped in a mystery inside an enigma.” Never mind that the quote came from Winston Churchill the better part of a century ago, never mind that it dealt with an unrelated topic.

The great new enigma spanning millennia is John Corigliano’s “The Lord of Cries.” In Mark Adamo’s evasive and elusive libretto you get spooks, Greek gods, werewolves, oracles, nightmares, a very bloody murder with severed head, apparitions, vampires, a madman, illicit lovers and pretty sages. Did we mention there are hexes too? You enter the world of the occult, read a synopsis swathed in heavy fog and emerge scratching your head, as you never saw any of the conflagration, massive earthquake or bloodshed at all. Very ancient Greek, no?

The supernatural title character goes by several names starting with Dionysus, son of Zeus. I see him—sorry, Mr. Adamo—as the perennial nemesis within as well as without. He brings about all manner of mischief and mayhem involving modern-day Englishmen—the prim Mrs. Lucy Harker, the authoritative Dr. Seward with whom she has the first of her affairs, and her madman husband, Jonathan of the Straightjacket. She loses her head figuratively and literally after coupling with Dionysus and meeting up with Seward-turned-werewolf, leading to a headless finale like “Salome”’s excerpt with all genders reversed. A jolly good tale, wot?

Despite its myriad unanswered questions, single set, its skimpy orchestral dimensions and its near-three-hour length, the opera having its world premiere at Santa Fe (N.M.) Opera made its impact leaning very heavily on the assertive countertenor (Anthony Roth Costanzo) in the title role. It had every reason to fail, given the fact that a substitute apprentice soprano filled in as leading lady. And yet, after the fourth performance and that sumptuous, gilded finale worthy of a regal baroque opera, the entire house stood and gave it a standing ovation, leaving a few desolate critics sitting with their futile misgivings.

The octogenarian New Yorker Corigliano, ranking suddenly among the oldest-ever opera composers, has a vocal gift extending from solo expositions to multiple ensembles, allowing sounds to soar resoundingly over the theater. His opus leans very heavily on the androgynous title character of wide vocal range and dramatic thrust.

Saving the day was the backup Lucy, the apprentice dramatic soprano Kathryn Henry, carrying off the role like a veteran with grand voice and on-stage poise. Costanzo was stellar as the deity/manipulator. Seward, the doctor/lover turned werewolf/murderer, was baritone Jared Ott, and the madman Jonathan tenor David Portillo. James Darrah led both the sizable cast and the meticulous stage rehearsals for which the SFO is duly famous.

AFTERTHOUGHTS—The story is based in part on Bram Stoker’s “Dracula” and Euripides’ ancient “The Bacchae.” Hardly less mystical, Corigliano’s only previous opera had been “The Ghosts of Versailles….” Both Corigliano and librettist Adamo took bows with the huge cast, along with conductor Johannes Debus.

“THE LORD OF CRIES” by Corigliano, world premiere production at SFO. Crosby Theatre, Santa Fe, NM. Season ends Aug. 27. For info, call (505) 986-5908 or go online: www.santafeopera.org.

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