It's a gem of a chamber opera with a young, convincing cast that packs a powerful message in less than an hour. For many in the sold-out house on Saturday, it ended all too soon. Although Parker aided up to 1,000 slaves in their escape across the Ohio River, the opera focuses on one true incident in which Parker aided a family's harrowing escape with a baby.
The opera was an ideal vehicle for baritone Terry Cook, who brought Parker's personal struggles, convictions and humanity vividly to life. But it was also a snapshot of the town of Ripley, where the abolitionist Rev. John Rankin preached against slavery from his Presbyterian pulpit (convincingly portrayed by tenor Daniel Weeks) and where the townspeople aided Rankin's and Parker's work.
With the Kentucky Symphony Orchestra directed by James R. Cassidy in the pit, the opera opened on a montage of slave catchers chasing fugitives, as the chorus sang, "Who will rise for freedom?" Hailstork has composed a score that sounds of pure Americana - engagingly rhythmic, lyrical and often reminiscent of Copland.
A composer who weaves hymns and folk music into his scores, he noted that he used the folk song, "Shall We Gather at the River," as a binding ingredient. Gonzalez' libretto is poetic, clear and succeeds at realistically capturing Parker's anguish and self-doubt. The most striking blend of words and music came in a touching love duet between Parker and his wife, Miranda (sung by Andrea Jones-Sojola).
It was tender, lyrical and beautifully sung, a well-crafted piece that will likely live on outside of the opera. Directed by Sheila Ramsey of Wright State University, the drama flowed almost cinematically. The action took place against a spare but effective set design (David Centers) on a slightly raked wooden stage.
Cook was riveting as Parker, a man with a vision and a burning desire to help his fellow man. Projecting a powerful, substantial voice, he dominated the stage and wonderfully conveyed both fear and determination. Jeremy Cady portrayed Stroufe, the evil Kentucky slave owner, with realistic swagger, even though roles such as his tend to be stereotypes.
Weeks' vibrant tenor and easy manner proved ideal for Rev. Rankin, whose sermon was punctuated by the congregational chorus. In smaller roles, Kearstin Piper Brown and John Christopher Adams, as the enslaved married couple, proved to be rising talents to watch.
And the Parker children - Nekyla Hawkins, C.J. Hughes IV and Ariss Payne - moved naturally and sang earnestly.
It wasn't all seriousness. There was comic relief, too, involving two fugitive women having trouble fleeing with Parker in their layers of hoop skirts, until they wiggled out of them down to their bloomers. In the pit, the Kentucky Symphony performed the fragmented and sometimes lush orchestral score with color and precision.
The opera repeats at 3 p.m. and 7 p.
m. Saturday and Sunday, Jarson-Kaplan Theater, Aronoff Center, downtown. Tickets: $15; $10 children.
513-241-2742, www.cincinnatiopera.
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