All the right notes: the ENO’s ‘Dead Man Walking’

This harrowing opera is based on the same story as the 1995 movie starring Susan Sarandon and Sean Penn. Rape and murder in the State of Louisiana might not sound like promising material for opera, but this was transformative. In the end, as the families of the victims are present at the execution, the opera embraces a spiritual dimension.

The murderer persistently refuses to admit his guilt, despite the fact that he was convicted in court after a proper trial, and is now on death row. Into this unforgiving state of affairs comes Sister Prejean, with whom the inmate has corresponded from prison. She works at Hope House, and while not willing to forgive him herself, believes he can be saved from eternal damnation if he will only admit his guilt and seek salvation from God. There is anger, hatred and grief, but also justice, compassion, and the opportunity for redemption.

As she tells the murderer, Joseph de Rocher, “The truth will set you free, Joe.” He claims he wouldn’t have killed the girl if she hadn’t screamed when he killed her boyfriend in a brief horrific scene that forms a prologue to the opera. It starts with Sister Helen and Sister Rose (Madeleine Boreham) teaching a hymn to a group of children.

What makes it work — and it works superbly — is the skilful libretto by Terrence McNally, based on a book by Helen Prejean herself, plus the remarkable music by American composer Jake Heggie. This was his first opera, premiered twenty-five years ago, on 7 October 2000 in San Francisco, since when he has written more than ten others. I was unfamiliar with his work, but the music speaks clearly to the action on stage, embracing great power and angst as well as beautiful tranquil moments under the very able baton of young British conductor Kerem Hasan.

The large cast embraces excellent performances by Christine Rice as Sister Helen Prejean, Michael Mayes as the murderer Joseph de Rocher and Sarah Connolly as his mother, plus roles for families of the victims including Jacques Imbrailo as Owen Hart, the father of the murdered girl. He expresses great anger at the nun, who seems to care more about the murderer than his victims’ families. Combining everyday simplicity with such intense feelings, including those of de Rocher, and the dull conformity of the jailhouse guards makes this a terrific opera. Little wonder it has seen productions in all the main opera centres in America as well as opera houses in Europe and Israel.

All praise to the ENO’s artistic director Annilese Miskimmon, who also created this production. What would we do without the ENO? This is an opera on a broad canvas dealing simultaneously with various shifting perspectives, and needs to come to a large London venue. Thank goodness it has arrived at last, after returning this year to its original venue of San Francisco. There are five further performances, ending on November 18 — not to be missed.

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