Dead Man Walking review – superbly dark opera, but light is around the corner

I was at one of those gatherings where friends of friends sprawled into groups entirely unconnected from the first, like a suburban town long freed from its planner. “It must be great to be in entertainment,” one stranger responded upon learning that I work in classical music.

I had never really considered it that way and was interested in this perception of what is usually, more pompously, referred to as ‘the arts’. ‘Entertainment’ suggests amusement or enjoyment – and yes, plenty of concerts and performances fit this description. But, as with theatre, dance – any of ‘the arts’ – there’s often much more to the experience.

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I thought of this exchange recently after a night at the opera. Such evenings are still regularly portrayed as they are in Pretty Woman – all flashy frocks, warbling sopranos and wealthy, wooing men. Even the latest series of The Morning Show, otherwise known for its contemporary storylines, has a ball-gowned Jennifer Aniston doing a deal with an oligarch in gilded theatre boxes under the guise of listening to Puccini.

Dead Man Walking couldn’t be more different. The English National Opera‘s (ENO) production of Jake Heggie’s opera (composed in 2000) includes scenes of rape, murder and execution, telling the real-life story of sister Helen Prejean and Joseph De Rocher, who formed an unlikely friendship while the latter was on death row. As we observed De Rocher (baritone Michael Mayes) strapped down for the final lethal injection scene, the woman to my right silently sobbed.

Later, a friend who had also attended messaged to say that she couldn’t concentrate for the rest of the evening. As Saturday nights go, this one was compelling, engaging – with some superb singing-acting, especially from mezzo-soprano Christine Rice as Helen – but entertaining? I guess working in ‘consensually harrowing projects’ doesn’t quite have the same zip. 

Read more:

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• Glyndebourne opera festival might be elitist – but it’s also more community minded than you think
• Opera performers are using Palestinian flags to make a stand. And why shouldn’t they?

Most professional singers I know are currently preparing to say farewell to friends and families for the next few weeks. It’s the busiest – and potentially most profitable – month for the freelance choral singer, as church services ramp up their musical activity. It wasn’t always so: until the 19th century, carols were sung at home or by doorstepping troupes.

Realising that the music might improve engagement, churches began to include carols in their services; the format eventually became the Nine Lessons and Carols heard around the UK today, enjoyed by believers and non-believers with equal fervour. This atheist once spent an enjoyable solo trip to Norwich Cathedral to belt out In the Bleak Midwinter at its carol service (21, 23 and 24 December).

Like retrieving the big coat after its eight months off duty, a good carol is warm and comforting. There’s that train ticket from last February, rediscovered like the cheery refrain remembered from Christmases long, long ago. New ones join old favourites: Errollyn Wallen, Master of the King’s Music, has set a late-15th century carol text found in a manuscript in the library of St John’s College, Cambridge. The work will be unveiled as part of the Choir of St John’s College’s service broadcast live on BBC Radio 3 on 30 November (available for 30 days).

No one has done more to enhance festive choral music than John Rutter, who, having just celebrated his 80th birthday, will be conducting the Royal Philharmonic Orchestra at the Royal Albert Hall for a special Christmas Celebration (4 December; 3pm and 7.30pm).

And the lessons are changing, too. In Robin Ince’s inventive Nine Lessons and Carols for Godless/Curious People, you’re more likely to hear readings about robotics than tales of Mary and the manger. This unusual variety night features a variety of guests and splices science with comedy, music and more. All profits will go to the Unicef Gaza Appeal and Two Wheels for Life; there will be a food bank collection at each show. (18, 19, 20 December, Kings Place, London). It promises to be very entertaining indeed.

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