I was a bit skeptical that the theme of Robert Johnson’s life, the man who created the blues and the basis for rock and roll, would be a subject which lent itself to an opera. How wrong I was!

The Faustian idea of selling one’s soul to the Devil in exchange for music immortality is a natural for an opera. Yet what of the music? How do you create a crossroads as an important theme in this opera without turning it into a rock opera or musical?

Performance Details

Jarrod Lee’s remarkably effective libretto has dramatic tension in the best sense. There is tension between the characters, especially between the powerful role of Devil and Johnson, as played by bass-baritone Christian Simmons who delivered a wonderfully sung and powerful portrayal of his character. His voice sounded full throated and dark, menacing yet suave. His soul ‘acquisition’ was at the Crossroads. Robert Johnson was sung by tenor Albert Lee who delivered a memorable vocal and dramatic performance. His voice, a clear ringing tenor, demonstrated great beauty and power with ease and conviction. The tension between these two characters was palpable and worked in a dramatic manner which was a model for opera as drama.

The supporting characters also delivered stellar performances. Melissa Wimbish as Virginia was excellent and alluring in her double message of tease and easy going as the Bartender. She easily transformed her character from one which was not that interested, to one being drawn to Robert Johnson’s new music, as he played as a male ‘siren’ attracting her through his music. Her careful feminine slow movement was a wonderful part of her portrayal of her character.

Marvin Wayne Allen II as Willy and Anthony Ballard as Son added to the music drama, first playing cards and then as skeptics of Robert Johnson’s lack of ease and awkwardness when trying to play guitar.  The frustration of a beginning instrumentalist is familiar to many, with most not requiring a deal with the Devil. This desire to play and sing was Robert Johnson’s motivation according to legend, along with love of his deceased mother.

Musical & Production Highlights

And the music…a remarkable experience. Damien Geter’s well crafted score demonstrates knowledge of Jazz and Blues. He effectively features the orchestra in contemporary musical ways that I would not have immediately thought would work with this theme. His orchestration, with a good size chamber orchestra including tenor Sax, was conducted by both Darren Li and Timothy Nelson. It underlined the action on stage as well as the inner emotions of the characters. The use of the instruments, especially in Robert Johnson’s arias where strings dominated and as the gifted guitarist surfaced for pivotal moments, were a highlight. Overall the orchestration is interesting, effective and a great accomplishment.

Director Alicia Washington’s stage direction accomplished what many operas lack–dramatic tension sustained throughout the performance. The construction of the work, a little over one hour, requires no intermission. Set design by Joshua Sticklin set the mood, with blue hues and low, cabaret lighting. There were a couple of guitars on the wall near the frequented bar, a doorway without a door for easy entrance and exit, and a small stage for performance with a black scrim behind which was where part of the orchestra was seated.

Costume designer Rakell Foye created a strong contrast of the Devil’s smooth black suit with a well worn black hat tipped slightly down and a feather on the side. The protagonist had a toned down almost work-like quality to his costume. Virginia, the bar maid, had a slinky golden dress complimenting her figure, allowing movement, especially during dance-like swinging motions. She was alluring both in her costume and her movement.

The lighting design by Paul Callahan was done so naturally it never drew attention to itself.

Of special note, the premiere was delayed due to heavy traffic. When it was announced by Timothy Nelson, people went to have some refreshments, and returned to be treated to a blues legend performance by Memphis Gold. I would support including him for all future performances. His playing and singing has an authentic quality in the tradition of Robert Johnson.

This is a remarkable new opera and worthy of every effort to make it part of one’s opera season. IN Series has given us a great new work.