Alexandra Loutsion / Recenze

The opera opens with the sisters entering one by one, singing of their lost children. It's a scene that builds to emotionally intense five-part counterpoint. The emotions are individual. When the sisters are emotionally together, the vocal parts are together, too. Muhly and librettist Stephen Karam treat the family's values with respect and sincerity, as well as its assertion of religious freedom. That's not to say they sugarcoat the views of the husband and father, the self-proclaimed Prophet. By normal standards, he's extremely manipulative and paternalistic. The crucial dramatic conflict within the family begins when one of the sisters, Eliza, asks why only he receives revelations. Jasmine Muhammd gives an intense but finely nuanced portrayal of Eliza, who will break free of the family at the end of the opera. The other sisters were all well cast. Meredith Lustig 'and Samantha Korbey, as Zina and Presendia, were favored wives who speculate about who will sleep with the Prophet that night, and aren't above a little catty dialoque ended by referring to the rule for the wives — “be sweet.” Nicole Rudin gave impressive dimension to Ruth, an older sister “out to pasture,” who mourns her dead sons and will commit suicide in the second act. Alexandra Loutsion emphasized the sweetnes and compassion of Almera. Joseph Barron was formidable as the Prophet, singing with impressive legato when presenting a vision. Although we see him hugging his wives, and speaking of family love, the Prophet is an opaque character. Barron also played King, a television personality complete with Larry King-style suspenders, in the first scene of Act II. Although the sisters start by maintaining unanimity in making the public case for the return of their children, Eliza breaks ranks and reveals she was married at 16 and wants better for her daughter, Lucinda. Rebecca Belczyk was emotionally direct as Lucinda, who chooses to stay with the family when her mother leaves at the end of the opera. Resident artist stage director George Cedarquist handled the characterizations and stage space with skill. Glenn Lewis and the excellent ensemble made Muhly's imaginative orchestration a vital part of the action.