‘A Gathering of Sons’ is powerful music theater
Pittsburgh Post-Gazette
Lockdown, a sadistic white policeman, shoots an innocent young black man named Victor, essentially because he can. Before leaving the scene, he takes a bag of yellow “magic” from Victor’s pocket, and thinks he’s gotten away with it one more time. But Lockdown’s deed has been observed by the spirits of The Sons (previous victims of police brutality) who appeal to the elements — personifications of earth, sky, water and blood, who wreak an eventual sort of reckoning.
This is the scenario for “A Gathering of Sons,” the second work in Pittsburgh Festival Opera’s “Music That Matters” series – biennial commissions of operas on subjects that are timely and meaningful for contemporary society. The third of seven performances in various local venues took place Saturday evening in Shadyside’s Rodef Shalom Congregation and succeeded, for the most part, as a powerful and original music theater experience. The opera deals with the spiritual aspects of justice and retribution in a nation where the balance between the races may be inherently unfair, although it glosses over social, economic and political issues at the root of the problems.
For this project, general and artistic director Jonathan Eaton assembled an artistic team of three African American artists from Pittsburgh: composer Dwayne Fulton, librettist Tameka Cage Conley and stage director Mark Clayton Southers. There are some flaws, mostly in the libretto, but the team has put together a terrific show.
Mr. Fulton, who studied classical music in school, but considers his forte more gospel/jazz/R&B, has created a coherent score that seemsappropriate for the action at all times, compelling to the ear, and singable for the superb cast of classically trained, mostly AfricanAmerican singers. The music ranges from full-scale choruses in gospel style (nine “sons” plus 15 principal singers) to elaborate operatic arias and verismostyle declamatory segments. It’s to Mr. Fulton’s credit that these diverse styles blend naturally into each other, that the results are neverjarring or out of place.
Mr. Southers’ staging is riveting, making each character — the human ones at least — an individual with a sharply defined personality. The supernatural figures are on the hokey side, but they’re integral to Ms. Conley’s story. One significant weakness is that the opera seems to come to a very effective ending with a production number invoking Handel’s “Hallelujah” chorus, then subsides and goes on another 15 minutes or so to a less compelling conclusion.
The instrumental group, consisting of alto saxophone, flute, string quartet, two keyboards and drums, has the effect of a cool jazz combo. Masterfully led by Robert Frankenberry, the ensemble supports and enhances the singers while underlining the action at any particular moment.
The lead singers are impressive. Heading the list are two young baritones — Miles Wilson-toliver as Victor’s brother City (who happens to be a good cop), and Robert Gerold as Lockdown (the only major role for a white performer) —— both ready for prime time with any opera company. Their late-on duet, in which City becomes the instrument of Lockdown’s earthly downfall, is a musical and dramatic highlight. Shortly after, Mr. Toliver delivers, quite beautifully, a powerful aria that could easily be excerpted into the baritone repertory. Mr. Gerold showcases his dramatic chops (especially in his scenes of punishment from the supernatural) along with a gorgeous sound that includes some quasi-Verdian sustained high notes. Terriq White, as Victor, has less to sing, but his high tenor penetrates and maintains a high quality. As Glock (the impersonation of Victor’s unhappy gun), Kevin Maynor shows another strong baritone voice, but less clarity of diction and a less consistent scale.
The women are also first rate. Denise Sheffey-Powell, as the Mother of Victor and City, is attractive and moving in voice and demeanor, as is Adrianna M. Cleveland in the role of Violet, City’s pregnant wife. Among the non-human figures, Charlene Canty soars in the high-lying melismas of The Sky’s stirring solo turn. Michele Renee Williams contributes luscious tone as The Waters, and Demareus Naomi Cooper is a force of nature with her formidable low chest voice as The Earth, while Rodolfo Giron proves himself a countertenor to be reckoned with as The Blood.