This review was originally titled AN OPERA THAT WORKS AND ENTERTAINS AS WELL and appeared in the August 26, 2000 issue of the Wisconsin State Journal in the Daybreak section, page 10F. It is available online here from the Wisconsin State Journal.

"Esperanza, an opera that had its world premier Friday night at Music Hall on the UW-Madison campus, has a chance at a life beyond its performances here.

Musically sound in a contemporary but melodious score, with a good story told well in a solid libretto, sung by a strong cast, and nicely staged, "Esperanza" has all of the attributes of a good entertainment -- with the underpinning of what is intended to be a serious message.

The history of contemporary American opera does not augur optimistically for new works. Even at the highest levels, new operas tend to open with fanfare, linger a bit, and then are not to be seen again. This one might be different -- or at least has enough merit that it might find an audience beyond next week.

The story, which has a happy ending, has its roots in the labor troubles of downtrodden zinc miners in New Mexico some 50 years ago, but the central theme is, as the artistic director for the opera, Karlos Moser said some time ago, about the love of a middle-age couple, the miner Ramon Quintero and his wife, Esperanza.

And here the opera has struck gold.

Theresa Santiago sang the role of Esperanza with an unfailingly assured melodic line and a confident security in the wide range of her mature lyric soprano voice. Top quality.

William Alvarado brought a deep, warm baritone to his characterization of Ramon.

They made a fascinating couple, she with the girth of a pregnancy in the first act, he with a natural girth and a bald pate that made him a realistic figure.

The opera's composer, David Bishop, and the librettist, Carlos Morton, have understood the value of a repeated phrase and theme, not only for dramatic effect, but for cohesion and as a series of musical "handles" for the audience to hold onto. Contemporary operatic composers too often seem to have forgotten the value of a recognizable melody. That surely isn't the case here.

It seemed to me that, while Santiago and Alvarado each had strong solos and combined effectively in lovers' duets, Bishop's most effective and exciting music was written for the many choruses. Particularly memorable were the women proclaiming their unity and resolution of purpose while they were in jail, but there were many other moments as well.

"Esperanza" has what one might call a traditional approach, with arias, duets, and choral scenes worked into the story logically, combined with logical and coherent speech. The entire cast of 25 should be complimented for the clarity of presentation of the mostly English libretto. Jeffrey Picon should be mentioned for his fine tenor voice as a union leader and Ramon's friend, and Kenneth Church's strong bass was fine in a cardboard role as the mine superintendent.

The choice of instruments for the 14-person orchestra fit the locale and the mood of the opera well. Only lower register strings (no violins) and effective use of clarinet, flute, oboe and guitar.

The effective set combined the tans and browns of a wooden ramp and struts supporting a rear-stage platform, backgrounded by a cloud-spotted blue sky accented by a golden sun and doubled by use of an angled rectangular mirror.

"Esperanza" is based on a workers-rights film of 1954, "Salt of the Earth," a landmark movie that looked realistically at the inequities of mine-workers' lives in southern New Mexico. The opera did not look at these inequities realistically -- opera really is not realistic -- and the resolution of the workers' problems were resolved in a too-facile manner. I found the slapstick moments when the wives and sweethearts of the miners flummoxed two deputies into submission with strike signs a bit too much, considering the supposed seriousness of the moment, but it was humorous, as were several other funny moments interspersed in the story line.

Stage director Norma Saldivar did a nice job in moving the singers about in a series of black-out scenes. I thought the first act could have been tightened up a bit, but 2 1/2 hours seemed to be about the right length.

The opera will have three more performances: tonight, Monday, and Wednesday, at 8 p.m. each night.

Tickets are $18 and $25, or $15 and $22 for senior citizens and students.

© 2000 Wisconsin State Journal