Almost 12 years have passed since composer Jake Heggie and librettist Terrence McNally left audiences in tears at the San Francisco Opera world premiere of their first opera, Dead Man Walking. Since then, the work has become one of the world’s most performed contemporary operas, with productions throughout the United States as well as in Australia, Canada, Scandinavia, Europe, and South Africa. In Germany, a country with a history of mass execution, Dresden Semperoper has mounted the opera no fewer than four times.
Dead Man Walking’s libretto, based on Sister Helen Prejean’s story of unconditional support and love for death row inmate Joseph De Rocher, is as inspirational as it is devastating. A rapt listen to the new recording assembled from three of Houston Grand Opera’s 10th anniversary performances in early 2011 also confirms that the opera’s brilliantly balanced score amplifies and personalizes the story’s emotional core beyond the realm of words. Heggie’s ability to speak to our deepest humanity without resorting to melodrama, bathos, or pretty Puccini-esque melodies is a remarkable achievement.
The audience weeping as Sister Helen stays with De Rocher to his final breath also makes clear why public support for the death penalty is diminishing in the U.S. It is good to report that this country’s annual death sentences and executions have declined at the same time that a record 140 countries have abolished the death penalty in law or practice.
Constants and Changes
Houston’s recording shares some personnel with Erato’s equally valuable recording of SFO’s opening night (issued in 2001). The eloquent Patrick Summers remains at the helm, but balances between instruments and with voices are noticeably different.
Listen To The Music
Don't say a wordWho will walk with me?
Dead Man Walking Free MP3 Download
Act 1 Scene 1: Hope House: He will gather us around (Sister Helen, Children, Sister Rose)
What remains constant, however, is mezzo-soprano Frederica von Stade as Joseph’s mother, Mrs. Patrick De Rocher. In her farewell to the operatic stage, in the role that Heggie tailored to her gifts, the 65-year-old artist sings with wondrous steadiness and supreme eloquence. The inevitable signs of age work in her character’s favor, and do not impede her ability to produce heartbreakingly sweet tones at the top of her range. While some may suspect that I am simply being diplomatic, the truth is that both Flicka’s voice and rare ability to reach from her heart to ours remain intact. Hers is a great performance.
Baritone John Packard, the Joseph of the San Francisco premiere, confounds expectations by playing Owen Hart, father of the teenager brutally murdered by his former character. The role reversal is profound, and the artistry equally moving. Playing a vital role behind the scenes are Ann and Gordon Getty, whose lifelong commitment to classical music, including support for SFCV, made both recordings (and so much more) possible.
As Sister Helen, the wonderful mezzo-soprano Joyce DiDonato starts somewhat cool, but soon ratchets up intensity. Her passion becomes deeply moving, with several perfectly placed, magnificent high notes making their mark. Baritone Philip Cutlip’s deep commitment and beautiful vocalism make for a superb Joseph. Eschewing the weeping and deep breathing that had John Packard’s final moments again haunting me in my sleep, he invests De Rocher’s final moments with surprising dignity.
Reigning in her tendency to sound “operatic,” the prodigiously gifted soprano Measha Brueggergosman brings a perfect balance of piety and humor to Sister Rose. Hector Vasquez wobbles a bit as the prison warden, but retains his wonderful sound. The only minus is the inexcusable absence of a libretto, with its availability online forcing listeners to either listen with computer or iPad in hand, or print everything out.
Do not be afraid of the horror of Dead Man Walking. It is a true work of art, transformative in its impact and it will resound in your heart and psyche long after Tosca has jumped from the parapet.