As part of its commitment to cultural diversity, Opera Columbus commissioned two African American artists to develop a new opera that would appeal to Americans of all races, ages and backgrounds. The result is “Vanqui” with music by the Philadelphia-based composer, flautist and educator Leslie Savoy Burrs and a libretto by the distinguished author-novelist and scholar John A. Williams.

“Vanqui” is a noble tale, both a touching love story and a cultural polemic, told through deeply expressive poetry and music. The story, covering the mid-1700s to 1861, is part mythical, part real. A young runaway slave, Prince, is killed during a slave revolt when his wife, Vanqui, is sold to another plantation. His destiny is to “ride the wind” in search of Vanqui. Vanqui’s new owner is Jefferson Cardwell, whose wife, Melody, jealously fearful that Jefferson is attracted to his new slave, murders Vanqui. Vanqui then also begins “riding the wind” in search of her slain husband, Prince. The both arrive at the sacred baobab tree, a mystical meeting place, but do not see each other. During their continued search the two encounter some of the historical people of the slavery period: Henry “Box” Brown, Gabriel Prosser, Denmark Vesey and Nat Turner. In Cincinnati in the 1850s Vanqui meets Miss Garner, who killed her babies rather than allow them to live in slavery. Garner is also the ageless Yoruba goddess Moremi, who saves her people in a similar manner. In Canada in 1858 Vanqui encounters Harriet Tubman, Frederick Douglass and John Brown. With the mystical Tubman’s help Vanqui and Prince are finally reunited. The Civil War breaks out. The two spirits are joined by John Brown, now also a spirit, and together they review the past and speculate on how the present can change America and its people, hopefully for the better.

Burrs calls his musical style “urban classical”, fusing classical, African and contemporary styles. It’s all quite tonal, easily accessible music, tuneful, emotional, expressive. Particularly powerful are its choral passages, both of despair and of celebration.

Opera/Columbus gave a single, somewhat abridged, concert performance of “Vanqui” February 27th, taking the opera “to the people” as it were at the new King Arts Complex. The complete opera will be staged for the opening Opera Columbus’ 1999-2000 season. In lieu of the opera’s recitatives, the Columbus television commentators Chuck White and Angela Pace narrated the story with a surprising degree of disinterest and unpreparedness. Happily the musical performance was an all-round powerful one. The soprano Carmen Balthrop sang Vanqui’s music with mystical rapture and warm, luscious tone. Michael Forest was all dignified nobility as Prince, his bright, clear tenor voice much in evidence. Impressively clad in colourful African garb, Pamela Dillard was also strong vocally in the dual role of Garner/Moremi. Benita Valente began cautiously, but quickly warmed to her touching aria in which Melody Cardwell compares her life as plantation wife to that of her slaves. Reginald Pindell sang a fierce Nat Turner, but William Florescu made a weak John Brown.

As fine as the singers were, the real “stars” of the evening were the Raise Mass Choir, directed by Raymond Wise and the Opera/Columbus Orchestra, conducted by Gary Sheldon, aided by Chakaba, an African American ensemble of piano, electric guitar, and an array of African percussion instruments.