IN Series Opera, a prominent regional company based in Washington, DC, has consistently captivated audiences this season with its remarkable and often groundbreaking productions. Renowned for presenting innovative new operas or contemporary interpretations of classic works, the company has masterfully transformed various urban spaces into compelling theatrical venues, from the Arena Theater to the Rev. Martin Luther King Jr. Library, making each location uniquely their own.
Much of this inventive spirit can be attributed to Artistic Director Timothy Nelson, who assumed the role in 2018. Maestro Nelson’s distinguished career includes significant tenures as Artistic Director for the Netherlands Opera Studio and the Nieuwe Stemmen program of the Rotterdam Operadagen. His impressive resume, coupled with his remarkable talent and unwavering energy, continues to inspire and deeply resonate with local audiences, marking him as a truly exceptional and committed leader in the opera world.
The recent presentation of “The Alcestiad” (Act Three) at the beautiful Rev. Dr. Martin Luther King, Jr. Library concert space in downtown DC showcased the company’s commitment to unique artistic touches. A significant portion of the program was dedicated to an insightful introduction, featuring two accomplished actor/singers, and , who compellingly read letters exchanged between composer Louise Talma and playwright Thornton Wilder. Timothy Nelson served as narrator, providing invaluable insight into their intricate creative process, including their doubts and mutual encouragement vital for staging this complex work in 1962 Frankfurt, Germany.
This historical context served as a powerful reminder of Louise Talma’s pioneering achievement: shattering a glass ceiling by becoming the first woman composer to have an opera presented by a major European Opera House. While “The Alcestiad” received a stunning 19-minute ovation at its premiere, later performances unfortunately faced critical scrutiny, highlighting the challenges even groundbreaking works can encounter in their reception.
Tenor , portraying Apollo/Epimenes, delivered a commendable performance, demonstrating a fine tenor voice and compelling dramatic timing. Despite the often disruptive and challenging singing lines inherent in the score, his ability to transition seamlessly between characters and maintain a high level of vocal artistry was evident, showcasing his significant talent within the contemporary opera setting.
The brilliant pianist Joy Schreier played an integral role in “The Alcestiad,” yet at times, the open piano’s sound inadvertently overshadowed the voices, making the sung text less discernible for the audience. While this might be an intentional aspect of the original composition, it suggests a potential area for adjustment in future orchestrations to ensure optimal text understanding and enhance the overall audience experience.
Though some critical analysis of the opera’s musical fulfillment was missed, and despite a personal disinclination towards atonal writing—which some perceive as constricted—the production of “The Alcestiad” by IN Series Opera proved to be a delightful and courageous offering. This bold choice resonated within the often musically conservative Washington DC community, underscoring the company’s commitment to expanding artistic horizons and presenting thought-provoking contemporary opera.
