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Theodora Hanslowe as Sister Helen was, in a word, amazing. She carried the part well and it was obvious from the onset that she was up to the challenge from the very start. Her beautiful and full mezzo voice was not only at all times under solid control but she demonstrated a remarkable and much appreciated ability to color her singing with the just right amount of tenderness, passion and anger where needed, and she continued to rise to this level throughout. Ms. Hanslowe was believable in the role and quickly drew the audience into her internal struggles as she dealt with convicted rapist and murderer Joe De Rocher, sung magnificently by John Packard.
Mr. Packard made easy work of this tough role – and was actually able to make his murderous character seem almost pathetic and remorseful. Packard, both physically and musically, gave the audience reason to wrestle with the issue of capital punishment, which is what sister Helen obviously wanted when she wrote her book. There was a turning point, for me, in this opera: three quarters of the way through the first act when the audience is introduced to De Rocher’s mother, played and sung magnificently by Diana Soviero. While this production succeeded on many and all levels, Ms. Soviero’s singing and stage presence elevated it to an even higher level. Her dramatic plea to spare her son’s life, while simultaneously expressing understanding of the deep and lasting emotional scars left on the victim’s parents’ lives, was delivered empathetically and brilliantly – I can still hear her cries of “My Joe”.
The entire cast of this wonderful production, from Kishna Davis as Sister Rose and David Langan as the Warden, to the children and inmates – all did a fine job and added depth and emotion throughout the evening, bringing to the table what a fine ensemble cast adds to any production.
Interestingly and surprisingly, I found the music of Jake Heggie to be refreshing. Typically I attend American Opera with trepidation, waiting for the misplaced crash of a cymbal, a complete atonal mess and basic lack of melody – not here. Mr. Heggie not only produced a touching score filled with beautiful music for voice, but he brought an almost Wagnerian quality to the piece with long drawn out musical lines and motifs (not to mention he was scoring for Wagner’s favorite subject of redemption through love).
Though applause is always appreciated it was obvious that the work was designed to flow and move forward without interruption. Speaking of applause – when the piece finally ended the applause was weak for a moment, not because of a lack of appreciation for what was just presented but because the audience was very likely emotionally drained.
The stage production by Leonard Foglia and Direction by Michael McGarty was superb. Lighting by Brian Nason gave us a terrific emotional backdrop to the overall visual landscape. His lighting of the first scene consisted of an incredible bathing of the stage in shadows and blue light, setting us up for the graphic and brutal murders which set the piece in action. Here he showed the victims of the crime, completely naked, portraying them in an innocent way, more ominous actually than sexual – brilliantly done.
Maestro Patrick Summers handled the score expertly and provided the singers with thoughtful accompaniment, comprised of broad ranging lines and powerful emotionalism when needed. The pacing was perfect for the action taking place on stage and at no time did it feel either rushed or dragged.
Though an Opera is supposed to be both a vocal and musical experience it was unquestionable that the most intense and dramatic moment happened in complete silence. Minutes before the end of the production a nurse entered the stage to administer the lethal injection to De Rocher. She took at least five minutes to prepare all of the wires while the entire house was in complete silence. The mood and tone was such that while we sat in our seats, everyone must have felt as I, as if they, too, were in the room for the final moments.This was an amazing production and one that should be seen. Though opera traditionalists may struggle with the content, and possibly even the graphic nature of the opening scene and final outcome, it is certain everyone leaving the theater, leaves affected by the experience and emotional gravity of what they just witnessed. Baltimore Opera deserves and earns a big “congratulations” for this fascinating, emotionally gripping, well-produced and thought provoking performance.

Conductor, Patrick Summer
Stage Director, Christopher Thomas
Scenery Design, Michael McGarty
Costume Design, Jess Goldstein
Lighting Design, Brian Nason

Reviewed By: Joseph Giannino
OperaOnline.us.

Baltimore Opera’s presentation of Jake Heggie’s “Dead Man Walking” at the Lyric Opera House in Downtown Baltimore Wednesday evening, was an enlightenment on many levels: It was an amazing and solid production that proves that good American Opera is alive and well; it was a deeply moving and surprisingly spiritual piece that created and sustained a mood reminiscent of that created in “Parsifal” and “Magic

Flute"; and it confirmed, if any confirmation was needed, that Baltimore Opera is a strong, dynamic company willing to take on a risky opera with a direct and not necessarily popular sociological message and make the best of it, which it did. With productions such as this Baltimore Opera earns its bragging rights as being in the league of major companies like Washington National and Virginia Opera to name two.
Wednesday’s performance had many vocal and other artistic standouts, but there were three on the vocal level that transformed what we saw from merely good to memorable.