Stars align for OTSL’s celestial production of ‘Galileo Galilei’ (2024)

Opera: “Galileo Galilei”

Company: Opera Theatre of Saint Louis

Venue: Loretto-Hilton Center, Webster University, 130 Edgar Road, Webster Groves

Dates: June 19, 21, 23, 27, 29

Story: Italian astronomer, physicist and engineer Galileo Galilei stands before an inquisition of the Roman Catholic Church in 1642, on trial for heresy and blasphemy for his book, “Dialogue Concerning the Two Chief Systems of the World,” in which he proposes that the Earth revolves around the sun, in conflict with the long-held theological view that Earth is the center of the universe.

Galileo recants his research and his science. He is 77-years-old, losing his eyesight and not comfortable with the prospects of execution or imprisonment. Now, as Galileo looks back on his life, he reflects on his friendship with Cardinal Barberini, a Catholic priest who will eventually become Pope Urban VIII, under whose leadership Galileo’s trial is held.

Additionally, Galileo reflects on the love, affection and strong intellectual curiosity of his illegitimate daughter, Maria Celeste, whom he sent to a convent for her education and who eventually became a nun herself. Her death at age 33 was a cruel blow to her father, who often relied on her love and support while his tormentors pursued him.

As he looks back on his life, Galileo remembers how he formulated his scientific theories by utilizing a telescope he refined to view the planets and stars in the sky as well as the laws of physics he detected, which led him to formulate that the Earth revolved around the sun and not vice versa.

He thinks back all the way to his childhood, when he attended an opera composed by his own father, Vincenzo Galilei, who was a member of the Florentine Camerata. The latter was an association of artists who are credited with creating the art form known as opera.

In the 16^th and 17^th centuries, Galileo has moved science forward immeasurably, but only at great personal expense, a price he painfully pays for daring to present startling new theories to age-old questions.

Highlights:Opera Theatre of Saint Louis closes out its 49^th season with a resounding triumph as it presents a rare and absorbing production of composer Phillip Glass’ 2002 operatic treatment of legendary but ostracized astronomer Galileo Galilei.

Other info:Glass’ riveting, 90-minute, one-act piece is masterful music, making the most of what he calls “music with repetitive structures,” composing often associated with minimalism. Conductor Kwame Ryan in his program notes says that his “interest in science and technology (is) almost equal to that in music.” Ryan refers to the “connections between the planetary orbits within Galileo’s posited solar system and the motion of Glass’ instrumental lines within the strong gravity of his rhythmic and harmonic systems.”

Glass’ music sounds glorious and is beautifully captured by conductor Ryan and members of the Saint Louis Symphony Orchestra. The richness of those haunting melodies matches the luxurious sets designed by Allen Moyer, which unspool further and further in the opera’s 10 scenes, each enhanced by the lavishly wondrous video projections designed by Greg Emetaz.

There is a seemingly endless array of magnificent costumes designed by Marco Piemontese for each of the presentation’s different scenes, culminating in an "opera within an opera" in which Galileo as a boy watches one of his father’s operas and the splendidly attired characters within it.

Eric Southern’s lighting design is terrific, especially allowing for the video design effects of the star-packed skies viewed through Galileo’s telescope. Sean Curran is the choreographer, and the wig and makeup design is by Krystal Balleza and Will Vicari. Andrew Whitfield serves admirably as chorus master for the heavenly voices shaping sundry Glass musical pieces.

Tenor Paul Groves heads the cast as the elder Galileo, offering an impressive portrayal of the aggrieved scientist, who poignantly looks back on his life. Vanessa Beccera lends her impeccable soprano to some uplifting arias as Maria Celeste, while bass-baritone Hunter Enoch lends gravitas to the roles of Pope Urban VIII and Cardinal Barberini.

Elijah English, Robert Mellon and Jared Werlein seem right out of “Monty Python’s Flying Circus” as a trio of pompous Inquisition cardinals grilling Galileo, and soprano Kathleen O’Mara admirably portrays the duch*ess Christina in the show’s penultimate scene.

The talented cast also includes Luke Elmer, Emilio Vasquez, David Wolfe, Gabriela Linares, Sean Michael Plumb, Jennifer Kreider, Brad Bickhardt, Lucy Evans and Michelle Mariposa.

Director James Robinson in his program notes mentions that “Galileo Galilei” was a late substitute in the season for a world premiere that wasn’t quite ready for unveiling. It marks OTSL’s second production of a Glass opera, the first being the American premiere of “The Trial” in 2017, another glittering triumph for the theater company.

Following its 2002 premiere in Chicago, “Galileo Galilei” has been performed in just New York City, London, Madison and Portland before this rendition. However rarely it has been staged, the OTSL version is handsomely executed, with Robinson guiding his polished cast through their operatic contributions. The libretto, by Mary Zimmerman with Glass and Arnold Weinstein, moves progressively backward into the past, a jarring and curious decision to which one slowly grows accustomed.

“Galileo Galilei” may not have been the first choice for inclusion in its 2024 season, but OTSL's masterful production makes its appearance on the schedule a most serendipitous addition.

Note: Photosby Eric Woolsey, courtesy of OTSL