Interludes

THE HANGOVER REPORT – MasterVoices’ well-judged presentation of BLIND INJUSTICE powerfully makes its point

• By drediman
• February 5, 2025
• No Comments

Earlier this week at the Rose Theater at Jazz Lincoln Center, I attended the first of only two performances of composer Scott Davenport Richards and librettist David Cote’s opera Blind Injustice. Presented by MasterVoices, the work is based on Mark Godsey’s book of the same name, which was in turn inspired by the Ohio Innocence Project — a University of Cincinnati College of Law endeavor that sought to bring justice to numerous cases in which incarcerated men and women who where were wrongfully sentenced to prison. Prior to arriving to New York, the opera was unveiled by Cincinnati Opera in 2019 and followed by a subsequent run last year at Montclair State University.

In short, the production is an ideal example of how potent contemporary opera can be — speaking to today’s audiences with relevance and urgency, while maintaining the heightened emotionalism for which opera is known. Richards’ distinguished score straddles various genres of music, ranging from jazz to hip-hop to pop to contemporary classical music. Rather than registering like a haphazard concoction, the divergent musical styles come together to form a vibrant tapestry of humanity, thanks in no small part to MasterVoices music director Ted Sperling’s patient yet firm conducting, to which the excellent 12-member orchestra and chorus of 33 singers responded eloquently. Cote’s libretto — which is based on true events — is expressive yet elegantly succinct, covering plenty of ground in less than 90 minutes, working with the music to skillfully consolidate common themes and situations to come up with an organic and ever-shifting mode of musical storytelling. Indeed, the opera never felt rushed as it chronicled various instances of wrongful arrests, misguided trials, tragic imprisonments, and ultimately bittersweet exonerations. Blind Injustice makes its point emphatically.

The opera benefits from director Robin Guarino’s unfussy and well-judged staging — some may describe it as a semi-staged production, but I think that under-appreciates its thoughtfulness and intelligence — allowing the power of the work to shine through undiminished with a clear sense of purpose. Sometimes less is indeed more. The principal cast was outstanding from top to bottom, singing with ardency and acting with great intent and genuine emotion. Perhaps the musical and dramatic highlight of the evening was the searing aria sung by tenor Orson Van Gay Il’s — a cry that rises desperately to the heavens from the wrongfully accused character’s soul in the depths of his despair.

HIGHLY RECOMMENDED

BLIND INJUSTICE
Opera
MasterVoices at the Frederick P. Rose Hall at Jazz at Lincoln Center
1 hour, 25 minutes (without an intermission)
Through February 4