When Washington National Opera announced its premiere of composer Jeanine Tesori and librettist Tazewell Thompson's opera Blue for March of 2020, it seemed like the time was perfect to present a story dealing with racial tensions in the United States. The outrage over deaths of unarmed Black people at the hands of mostly white policemen led to renewed street protests in the United States and the Black Lives Matter movement spread across the globe. Three years later the Washington premiere, delayed by the pandemic, the topic remains as relevant as ever. Just scroll down your social media feeds to witness increasingly open and bold expressions of hatred toward "the other." Blue offers a rare and intimate look into how racial inequality destroys lives and tears into the fabric of community.
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| Police officers in Blue (Photo: Scott Suchman) |
In the opening scene, the Mother chats with her Girlfriends about the joys of her marriage and desired for a child. The Girlfriends cheer her happiness, but warn she should not bring a boy into this world because he would not live long. The Mother swears to protect the boy.
The Father's fellow police officers react differently to the news. They celebrate and tease their mate, seemingly confident that their profession provides security.
Next we see the father arriving in the hospital to see his new baby. He is proud, excited but also frightened about the responsibilities coming with raising a boy in a dangerous world that he knows well as a policeman. This scene is followed by a very brief glimpse into the marital happiness buoyed by the love for a young boy at home. All too soon the playful boy becomes a rebellious teenager, well aware of injustices in his society and ashamed of his father's profession. When asked to stay away from protests in which he could get arrested and hurt, the Son accuses the Father of supporting laws that protect the white people but not his own Black community. Despite angry barbs, the Father hugs his son and assures him of his love. After promising to attend one last peaceful demonstration, the Son leaves the house and never comes back.
In the second act we witness the Father's meeting with a local priest after his son's death. His grief is exacerbated by the knowledge that the boy was killed by one of his fellow police officers. The Reverend encourages him to forgive, but the pain is shaking the Father's faith ("Only a white God would sit in his cloudy white heaven") and he swears revenge.
During the funeral, which brings the community together much as the funerals do after real-life shooting deaths in America, the Father is beset by memories of his son, and feelings of guilt and regret, wondering if he could have done anything different to save him. The parents and the congregation then end their prayers and quietly leave.
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| Funeral scene in Blue (Photo: Scott Suchman) |
Originally commissioned by The Glimmerglass Festival at the initiative of WNO's artistic director Francesca Zambello, Blue premiered in Cooperstown in 2019. In 2020 the Music Critics Association of North America named it the 'Best New Opera.' It has since played in Seattle, Detroit and Pittsburg and had a European premiere in Amsterdam in 2022. English National Opera is scheduled to unveil its production of Blue next month at the London Coliseum.
Washington National Opera meanwhile produced a studio recording of the opera, which was published last year on the Pentatone label.
WNO's repeat performance of Blue on Monday was impeccable. Kenneth Kellog as the Father has made the role his own having sung it in most of the performances so far. He will sing it again in London next month. The role of the Mother was expertly conveyed by mezzo-soprano Briana Hunter, for whom the role was written. She was buoyant in her joys and heartbreaking in her sorrow, with some vocal rollercoasters to handle along the way. Aaron Crouch, who created the role of the Son, returned to it for the WNO production. The Girlfriends (Ariana Wehr, Katerina Burton and Rehanna Thelwell) were in superb voices, and delivered some of the most enchanting ensemble pieces of the evening. If I had to single out one of the three singers, it would be promising new soprano Katerina Burton. Wehr doubled as a nurse, making the most of her comic moment in which she gets to stick the new-born baby into the bewildered Father's arms.
Baritone Joshua Conyers stood out as the compassionate Reverend.
Blue is generally described as an opera about police violence against young black men. Indeed, the Girlfriends warn their pregnant friend: "Thou shalt bring forth no Black boys into this world!" The less pessimistic Father grows more concerned as his 16-year old son starts to rebel. He tells him repeatedly: "Your only duty is to stay alive," underscoring his awareness that it is not a given.
Blue does not seek to impress with violence. The shooting death does not take place on the stage. It does not need to. We see such scenes in the news media often enough. The opera shows the joys and sorrows of average African-American families and dependence on one another and their community. Despite the initial unease, the Girlfriends welcome a new boy into the community and the Father's conflict with his son ends in a firm embrace and pledge of his love.
Global interest in the Tesori-Thompson opera is testimony to its universal themes of love, conflict, pursuit of justice and tragedy. Tesori's melodic score is an example of contemporary sound with African-American influences and a strong sense for theater. The composer known for Broadway musicals, such as Tony Award-winning Fun Home; Thoroughly Modern Millie and Shrek the Musical, did not shy away from writing tuneful music that people actually enjoy. Blue has been described as an eclectic piece with rich orchestration and eloquent vocal lines. There is every reason to look forward to the world premiere of Tesori's new opera Grounded, which WNO plans to premiere during its next season.
Thompson's libretto was a mixed bag. It held very few surprises in the first act. The Girlfriend scene offered some of the most beautiful singing, but was too long in my opinion, especially in comparison with its male counterpart. The glimpse into the early family life, hinting it was a happy one, was too short to be remembered before a crucial scene of conflict between the Father and the Son.
The encounter between the Father and the Reverend in the second act brought to mind a scene from Verdi's Don Carlo, in which King Philip seeks advice about his rebellious son from the head of the Spanish Inquisition. The circumstances are different and the music is different. While the Spanish king seeks to sacrifice his son for the stability of his reign, the US police officer, in an equally powerful scene, seeks revenge for the unjust death of his.
Another scene that brought to mind a well known opera was the one where somber Girlfriends give support to the grief-stricken mother. It reminded me of Poulenc's nuns in Dialogues des Carmélites preparing for the guillotine. Neither group has hope for a better future.
At the funeral, when the Father's mind wonders back to the past, we finally witness some of the family scenes missed in the first part of the opera. In this unexpected flashback, we witness the Mother making peace between the Father and the Son over a family meal. Throughout Blue, we saw the Mother rejoicing in the birth of her son and agonizing over his death, but no interaction between her and her teenage son until this last scene. It was a little late for me, literally like an afterthought.
The congregation leaves the stage to a sad but musically calming conclusion. We are left with a sense that a human life has been cut off too early with no lesson learned and more grief to come - the same sense of helplessness we get after learning about yet another shooting death reported in the news. Despite outrage and a wave protests after every new killing of a black man by a police officer, resignation follows soon after. The Father's words to God “How many sons do we have to give before you can’t hold one more?” come back to haunt us, rightfully so. An optimistic end to this opera would ring hollow.
Zambello has said that art organizations have a responsibility to explore contemporary issues and start dialogues that could lead to change. She has done her part with Blue and I expect there will be more. WNO has made an extraordinary effort to make the opera accessible to educational institutions and people who don't often see opera. Almost every performance is accompanied by pre- and post-show discussions. The company has reached out to communities at the center of this work to bring them to the opera. in Addition, it is hosting events and inviting the media for dialogues on Blue's themes of race, violence, and reconciliation. A list of events can be found here:
https://www.kennedy-center.org/wno/home/2022-2023/blue/
WNO has also produced a documentary on the making of Blue, which will be presented on March 18, starting at 1:00 PM at the Justice Forum at the Kennedy Center's REACH, and will be followed by a panel discussion. The event is free and open to the public.
Arts organizations, at least some of them, are making steps toward awareness of our societal problems and possible change. But so should we all. One thing everyone could do immediately is stop spreading hateful, incendiary messages on social media, while hiding behind fake names.
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There will be four more performances of Blue at the Kennedy Center’s Eisenhower Theater through March 25.
English National Opera in London will run 6 performances of Blue between April 20 and May 4.
