SOCIAL CRITIQUE THROUGH OUR MODERN LENS IN OPERA
SANTA FE, NM—-One of the finest new operas of our era provides an inspiring human drama about our own urban lives, which are flawed (except for yours, of course).
This is the world-premiere opus “The Righteous,” which through the genius of librettist Tracy K. Smith airs a catalogue of 15 or so social issues through the lives of nine characters. And what could be more timely than the emergence of women’s roles along with critiquing politicians’ shallow behavior? Somehow, the ending after three rocky hours is upbeat.
It all revolves around David (baritone Michael Mayes), a voluble preacher turned opportunistic politician who symbolizes hypocrisy, decline of religion AND revolving-door marital breakups with the wealthy Michele and the pretty climber Sheila. The have/have-not divide is aired also by the old petroleum-loving governor Paul and a black social activist Jacob (Nicholas Newton), who might as well be preaching to the ocean. The young man Jonathan (countertenor Anthony Roth Costanzo) brings in issues of the LBGTQ+ as well as the AIDS epidemic and drug consumption. The generational divide is brought on by Shannon and Deidre, alienated from the others. And the complexities revolving around interracial marriage swarm around both Shannon and her mother Sheila.
Is any issue left uncovered? The genius of the librettist lies in weaving all these issues into the characters voicing many oblique allusions seamlessly, then bringing in both Sheila and Michele (Elena Villalón, Jennifer Johnson Cano) to symbolize the emergence of women’s social work and activism, committed to the deprived.
But clearly the focal figure is David, the mesmerizing orator who leaps into the governor’s chair and sells out to the power interests while neglecting all social responsibility. The deft social critique played out here with subtlety and poetry leaves me anxious to see Ms. Smith’s next operatic venture. Meanwhile, this opera should have ample legs (i.e., endurance as well as added bookings elsewhere).
Composer Gregory Spears has an easy-to-listen style, producing ample soliloquy arias for the principals as well as a love of French horns comparable to German composers old and new. Jordande Souza conducted smartly.
As usual, the inordinately long rehearsal time at Santa Fe Opera is telling, here under Kevin Newbury’s direction. As the Crosby Theater has no scenery flies, the movers are constantly pushing the rolling scenery on and off stage ins distracting mid-aria fashion.
MUSIC NOTES—Smith is a professor at Harvard and, in 2017, was the poet laureate of the US. Spears has seen premieres of at least two of his previous operas. They had met at Princeton….This is the 19th world premiere at SFO, a remarkable achievement….The breath-taking indoor-outdoor Crosby Theater is a blessing through the New Mexican thunderstorms, one of which hit just before the Aug. 7 performance.
SPEARS-SMITH’S “The Righteous,” world premiere, in English, at Santa Fe Opera. Seen Aug. 7; through Aug. 13. For SFO info: (800) 280-4654, or online, www.santafeopera.org.
