THE BALLAD OF BABY DOE
CENTRAL CITY OPERA:
JULY 4 – AUGUST 1
“The Ballad of Baby Doe” is an opera composed by Douglas Moore with libretto by John Latouche. Commissioned by Central City Opera, it premiered at the Metropolitan Opera on February 8, 1956.
It’s based on the true story of the relationship of Horace Tabor and Elizabeth “Baby” Doe Tabor in and around Leadville, Colorado in the late 1800s. Renee Fleming has performed the role, and the play endures as one of the greatest examples of the American Opera. Although Jake Hegge’s operas such as “Dead Man Walking” and Robert Ward’s Pulitzer Prize winning opera, “The Crucible” are also fine examples of the American Opera, only “The Ballad of Baby Doe” and “Gabriel’s Daughter” are set in Colorado. John Moriarty, the late beloved Artistic Director of the Company was hoping to find someone to pen another opera set in Gilpin County and was unable to find the right composer before he passed. Maestro Moriarty made us aware of many American operas including Carlisle Floyd’s powerful opera, “Susannah,” and we miss him greatly!
But I digress.
This is the third time this reviewer has been lucky enough to see “The Ballad of Baby Doe.” The previous two productions were “very good.” This one is Divine!
Virginia Mims is the quintessential Baby Doe! Besides being extremely easy on the eyes, her voice is transcendent! In the early scenes her arias bloom with gentle melodic nuance. As the show progresses her luminous performance spins out increasingly powerful arias that amaze us with their expert modulation and power. Among many other triumphs, Ms. Mims has appeared as Musetta in “La Boheme” for Aspen Opera/Vocal ARTS and Musetta in “La Boheme” for Sarasota Opera.
Emily Pulley gives a stunning performance as Augusta Tabor, the rejected wife of silver magnate Horace Tabor. Her mezzo has all the steely power of the proverbial ‘woman scorned.’ Ms. Pulley has appeared as the title character in “Carmen” (2017) for Central City Opera, as well as Susannah Polk in “Susannah,” (2008) and Julia LaVerne in “Show Boat” (2013).
Weston Hurt fills the opera house with his powerful baritone and blesses us with his dynamic acting in the role of Horace Tabor. In this reviewer’s interesting opinion, Mr. Hurt is the most memorable vocalist to have sung this role! This magnificent opera singer recently played Germont in Utah Opera’s “La Traviata,” and the title role in English National Opera’s “Rigoletto.”
As Illuminated by Abigail Hoke-Brady’s excellent lighting design, the realistic scenic design done by Lawrence E. Moten is something to applaud. Lynly A. Sanders’ costume design is eye-popping indeed. Among the many eye-pleasing costumes, the shimmering red gowns worn by Baby Doe and Mama McCourt at the Governor’s Ball give us the haute couture of the day in spades!
Conductor Aaron Breid’s baton invigorates the Central City Orchestra in the pit in such a way as to evoke and underscore a rousing vitality in the historical events unfolding onstage.
The musicians in the pit make Douglas Moore’s composition, which is spiked with American folk tunes, sound better than ever!
Director Cynthia Lawrence has cast the show magnificently, kept the story rolling at an engaging pitch, and makes use of the entire auditorium to announce the winners and losers of elections as well as presenting the stumping for votes by such politicians as William Jennings Bryan.
This is really the sparkling jewel in the crown of Central City Opera.
Miss it at your peril.
For tickets call 303-292-2700 or go online at centralcityopera.org
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