Arenas died of AIDS in 1990 at age 47 and the epidemic still seems potent material for musical exploration.  Just two years ago the Fort Worth Opera mounted the operatic version of “Angels in America.”   But AIDS is almost a minor topic in the new three hour-long work.  Freedom — artistic and sexual — is the more dominate theme.

From his bed Arenas pleads for his two muses, played by sopranos in glittery ball gowns and beehive hairdos, to take him back to his youth.  Soon he’s cavorting on the beaches of Cuba and we follow his entanglement in revolutionary politics, pursuit of love and companionship, and achievement of international fame with the overseas publication of his visionary writing.

The young baritone Wes Mason played Arenas with remarkable vocal stamina and  physical dexterity to give a vivid portrait of the character’s playful creativity and steely constitution.  The singing quality of the mostly young supporting cast, though, was very uneven.   Bass-baritone Seth Mease Carico played the revolutionary officer Victor with terrific strength and clarity and Jesus Garcia, as a fellow writer, was suitable though a bit anonymous.  Tenor Jonathan Blalock, as one of Arenas’s lovers, sang with a reedy, disembodied voice and soprano Janice Hall’s one scene as the mother was just unpleasant.   A hearty chorus of about 30 was dispatched as a militant band in the first half and disco revelers near the end.

The Manhattan and Cuban locales were evoked by projections on various scrims, which after a while gave the production a weightless, floating quality.  Riccardo Hernandez was credited with scenic design and Peter Nigrini with projections.  Maybe they intended their imagery to foreshadow Arenas’ troubled life, but the beach scenes always had a heavily clouded sky and overly bluish cast.   The stage of Bass Hall also just felt too big for the piece, with many performers exiting with long dashes into the wings.  The two all male dance numbers by choreographer John de los Santos were acrobatic, choppy, and rigid, while the narrative and Martin’s lush scoring called for sensuality and seduction.

There’s plenty of Latin dance rhythms throughout and overall the opera’s pacing is quick with lots of short scenes that keep things moving. Martin’s orchestration is traditional but sometimes daringly light and understated.  Some pivotal choruses and ensembles were performed a capella.

The composer made his own libretto with assistance from Dolores M. Koch, who was a translator of Arenas’ writings.  Too often they have the characters announcing their feelings rather then trusting the music to communicate the emotions.  But in a rare accomplishment, almost every word is intelligible — a testament to both the singers and Martin’s skill at setting text.  The supertitles, by the way, provided the English lyrics as well as a Spanish translation.

A beautiful tune comes in the first act when Arenas and a lover sing, “Oh, our unhappy island, when will your troubles be done?”  Near the end of the show, the emotional and political themes come together in the line: “My death notice came not from a tyrant but from my lovers.”

The opera itself seems bolder in its handling of gay content than does the production by director David Gately.  When Arenas applies for sanctuary in the U.S., he’s harshly questioned about his sexuality — even asked by an official if he’s a top or a bottom and ordered to swish about to prove he’s a fag.  (As if his hip huggers and loud flowered shirt weren’t enough.) It was an awkward and painful moment to watch but not unbelievable either.

So why did the Fort Worth audience laugh?  There was nothing particularly campy or clownish in Mason’s movement and his face communicated shame.  Giving the audience the benefit of the doubt, perhaps it was a collective discomfort that came out as a chuckle.

Such powerful material in the libretto and score only highlighted the contrast to the staging, which played it safe with gay sensuality.  There were only two male-to-male kisses in the entire production. Both were pecks on Arena’s forehead, more motherly than passionate. And then there were those stiff dance numbers, with the men knocking against each other almost like football players.

Fort Worth Texas might be the most conservative area of the country after Orange County California.

Seven people were arrested for drunkenness, though numerous reports say that the individuals were pulled from the crowd randomly and violently.  A 26-year old man was hospitalized with head injuries.

The event occurred on the 40th anniversary of the Stonewall Riots in New York.

Reports from Dallas Voice on the arrests and the ensuing investigations and protests:  7/1/09, 7/16/09, 8/7/09, 8/20/09, 10/30/09, 12/30/09

Meanwhile…

The one of the city’s premiere arts organizations, the Fort Worth Opera is gay, gay, gay.

And that’s not a redundancy. Just look at what they’re putting on stage.

In 2008 FWO presented the first full American staging of the operatic version of Tony Kushner’s landmark “Angels in America,” composed by Peter Eotvos.  A concurrent series of events throughout the Dallas-Fort Worth area was titled: “More Life: The Art & Science of AIDS.”

Ava Pine and David Adam Moore, Fort Worth Opera

And on Saturday night the Fort Worth Opera presents the world premiere of Jorge Martin’s “Before Night Falls,” based on the autobiography of Reinaldo Arenas. The gay Cuban writer died of AIDS in 1990 at age 47.  His memoir was published in English in 1993. A 2000 film version was directed by Julian Schnabel and starred Javier Bardem, who was nominated for an Academy Award.

Here’s composer Jorge Martin – a gay Cuban American who lives in Vermont – talking about writing an opera about a gay Cuban:

Other coverage:  Opera News: “Long Night of the Soul” by Adam Wasserman.

Synposis, biographies, background in FWO’s newsletter “Libretto”

“Before Night Falls” runs for two performances (May 29, June 6) in repertoire with the Fort Worth Opera’s other 2010 productions, “Don Giovani” (May 30, June 4) and “The Elixir of Love” (May 28, June 5).  Look for a review on this site after the June 6 performance.

Wes Mason as Reinaldo Arenas, Fort Worth Opera

Previously on MyBigGayEars:
Darren K. Woods, Administrative star and “turn around master”

The massive scale and varied themes of Melville’s classic novel have flummoxed many who’ve tried their hands at creative adaptations.  But Gene Schere’s libretto telescopes the drama to a handful of characters and the opera is a pretty good show, thanks especially to the work of director Leonard Foglia and scenic designer Robert Brill.

Most memorable are the projections which feature stars, maps and compasses, various views of ships large and small, plus lots and lots of water. We never see the whale.  Ropes and metal scaffolding often fill the proscenium and a few too many arias and duets are delivered from precarious heights above the stage as the singers grab tight to the ironwork, holding on for their lives.  The back wall slopes downward into the main playing area like a giant slide.  When ships crash, supernumeraries spill down it as if splashing into the water.

For much of the first act, which runs almost two hours, Heggie’s score surges like the sea with constant rhythmic life.  The music is always pleasant and tuneful and has some imaginative orchestral touches, such as the sound of whale’s spout created by a trumpet blown without a mouthpiece. The second act begins with a lively sea chanty.  But over all the opera floates on a shallow ocean.  There’s never much undercurrent to the orchestral writing nor much counterpoint to be found, even in the vocal parts despite plenty of ensemble numbers.

Star tenor Ben Hepner in the lead role of Captain Ahab deserves credit just for managing that peg leg.  He’s a hulking authoritative presence with a knitted brow, but certainly not any kind of menacing embodiment of evil. One wonders if he’d command so much stage attention if he wasn’t spotlighted all the time.  Musically the role has lots of melismatic lines, which Hepner sings with a rather unvaried mezzo-forte dynamic, until one hushed and arresting duet. That comes midway through the second act with baritone Morgan Smith, who has an attractive emotional and dynamic range and is the best of the supporting cast.

The other characters, always in Ahab’s orbit, are officers and sailors and one cabin boy played with style by the sole female in the cast, soprano Talise Travigne. The cast also includes bass Jonathan Lemalu as Queequeg, a quasi-shamanic figure, and tenor Stephen Costello as the introspective and troubled Greenhorn.  They all get a little stir crazy and seemingly every aria and scene ends with religious exhortation. The all-male environment, combined with the regular references to Christian values, makes the Pequod feel like a monastery on the water.

The large orchestra was conducted by Patrick Summer and played with surety and ease.  The acoustics of the 2,200-seat Winspear Opera House are proving to be a curious, however.  From a seat near the rear of the orchestral level, the sound of the instrumental ensemble seemed capped and distance.  Snatching seats on the fifth row after intermission solved that problem. But most of the theatrical tricks in “Moby Dick” came in the first half and a few too many introspective arias made the second act slow and disappointing, even if Ahab did finally spot that big white whale.

Following recommendations of friends, he spent that summer in the young artists program at the Seagle Music Colony outside the little Adirondack village of Schroon Lake in Essex County about 90 miles north of Albany.  Founded in 1915 by renowned baritone Oscar Seagle, the colony has offered generations of young singers a haven to study and grow before venturing on to professional careers.  It’s transformed Darren Woods’ life at least a couple of times now.

Woods did go on to a respectable singing career, performing with the New York City Opera and numerous other companies. But it was the role of J. Pierrepont Finch, the deft wheeler dealer in “How to Succeed in Business Without Really Trying,” which he played during that one summer at the Seagle Colony, that really pointed to how Woods would ultimately make his mark in the operatic world.

First, in 1996 Woods returned to Schroon Lake to take a one-season appointment as general director of the Colony. He has remained its guiding force ever since and is widely credited with transforming an organization that was on the brink of closure.

Next, in 1999, Woods ended his performing career to become head of the Shreveport Opera in Louisiana. In a tenure of just 24 months he also saved that outfit from near extension.  And as general director of the Fort Worth Opera since July 2001, Woods has again brought vigor to a company once written off as provincial and moribund.  In a profile of Woods in its July issue, Opera News Magazine referred to his “national presence” and called him a “turnaround master.”

In addition to his duties in Fort Worth, Woods regularly gives master classes at universities across the country and frequently serves as a judge of auditions for the Metropolitan Opera National Council, the Richard Tucker Foundation, and other organizations. But he still summers at the Seagle Colony, where he now holds the title of artistic director. We spoke recently over coffee in Sarataga Springs.

“Opera is in me to the corps of my being,” he says. “I’m a servant to the art form.”

Such lofty language might suggest that Woods is working from some lyric libretto and longs to be back on stage. But his pronouncements are given with a sincere and matter of fact tone and spill out of him as fast as a Rossini overture.  Whether its identifying and encouraging good singers, knowing the vast operatic repertoire, or finessing rich folks out of their money, Woods seems always on his game.  His respective companies are the beneficiaries.

The year he took the reigns of the Seagle Colony, it gave three staged productions over five weeks, and operated on a budget of roughly $30,000.  This year, there are six productions, a nine-week season and a budget of nearly $575,000.

One of Woods’ first outreach efforts for Seagle was to churches — offering free music on Sunday mornings. “Mr. Seagle belonged to the Community Church and we provided soloists there since time immemorial,” explains Woods. “I thought, well why not sing in the Catholic Church too? I walked over and there were like a 1,000 people, while the Community Church had about 40. Soon the priest was announcing our performance schedule.  Now we sing at so many churches, everywhere from Putnam to Keene Valley, we can only provide (each congregation) about two Sundays per season.”

Education was Woods’ first focus in Shreveport. “I dreamed up a program to take opera to little kids in the sticks where there were no arts,” he recalls. “I made up a study guide and a brochure and we got literally $300,000 worth of bookings. So then I hired three singers and a director and we had the ‘Piped Piper’ and ‘Little Red Ridinghood’ and did everything I had laid out in the brochure. And it underwrote the mainstage productions.”

Though the job in Louisiana paid considerably less than he had been making as a singer, Woods thought the experience could serve as the equivalent to a masters degree in arts management. By the time Fort Worth came calling, he had developed considerable confidence.

“I went through a four-hour interview and was blatantly honest about what I knew of the company. The quality was in the tank,” he says. He went back to Shreveport thinking that was that.

Some six weeks later, in the midst of a summer at Seagle, he got a call back. This time, he spoke not just of impressions but gave assessments based on research.  “I said your repertoire here is old school and boring and if all you want to do is the top 20 operas just send me home now. You’ve not done Handel or Britten or anything 20th century except ‘Turnadot’ and that hardly counts. Plus you can’t afford the season you planned.”

In addition to the tough talk, he also passed around copies of a five-year plan.  And he got the job.

Woods has countless stories, both amusing and horrific, about rebuilding the board and the nearly 24-hour charm offensive it takes to raise enough funds to keep an opera company in the black.  But his results speak for themselves. He’s grown the company from a $2 million budget to the current level of about $4.5 million.

In 2007, with support from the local chamber of commerce, the Fort Worth Opera abandoned its traditional spring and fall seasons and concentrated its efforts into a compacted two-week “festival season.”  This past May, the lineup featured Bizet’s “Carmen,” Rossini’s “La Cenerentola” and “Dead Man Walking,” an acclaimed 2000 adaptation by Jack Heggie of the Pulitzer Prize-winning book by Sr. Helen Prejean about counseling a death row inmate.

After the season concluded, Scott Cantrell of the Dallas Morning News (former staff writer for the Times Union and a notoriously tough critic), wrote, “Fort Worth Opera has become one of the country’s premier opera festivals. No kidding… Give the credit to Darren K. Woods, who eight years ago took over the fragmented mess that was Fort Worth Opera.”

The recent Opera News article about Woods went further and voiced something that others in the field also foresee:  that in the coming years, Woods will likely be heading up one of the country’s major opera houses, such as Seattle, San Francisco or Houston.

While not dismissing the talk, Woods puts it as only a singer could: “There are some high notes I’ve still not hit.”

Yet he assured me that his connection to the Seagle Colony will endure.  With its centennial coming up in six years, some in Schroon Lake are talking of building a new theater.  Woods wants to build an endowment that will keep the program’s focus on young singers. And as the saying goes, he’s put his money where his (very active) mouth is. “This place is in my will,” he says.

A version of this story originally appeared in the Times Union.