Omar
Winner of the 2023
Pulitzer Prize in Music
Music by Rhiannon Giddens & Michael Abels
Libretto by Rhiannon Giddens
Director Kaneza Schaal
Published by and presented with permission of
Subito Music Corporation
Emerson Cutler Majestic Theatre
Thursday, May 4, 2023 | 7:30PM
Saturday, May 6, 2023 | 7:30PM
Sunday, May 7, 2023 | 3PM
Sung in English with English surtitles
SOLD OUT
10 Memorable Classical Music Moments from 2023
–The Boston Globe
In 1807, 37-year-old Fula Islamic scholar Omar Ibn Said was captured and forced to leave his home in West Africa on a ship bound for Charleston, South Carolina, where he was sold into slavery. Making its New England premiere with Boston Lyric Opera, this record of Said’s remarkable life and Muslim faith reveals a refusal to be defined or erased by his captors. Through the shifting darkness of memories and imagination, Omar invites us to bear witness to one man’s journey in remaining true to himself, his people, and his faith – against all odds.
This collaboration between Rhiannon Giddens – a Grammy Award-winning musician and recipient of a MacArthur “Genius” Grant – and Michael Abels – the acclaimed composer of the Oscar-nominated film Get Out – infuses the conventional Western orchestra with the sounds and melodies of Americana, Arabic, and West African folk music to create this radiant narrative of strength, resilience and conviction.
Omar is inspired by Said’s 1831 autobiography – one of his fourteen Arabic manuscripts, and the only known surviving account of American slavery written in Arabic. Named one of the best classical performances of 2022 by The New York Times and awarded the 2023 Jury Award by the Society of Composers and Lyricists, Omar sheds light on a long-disregarded true story, lifting it to new heights with a richly orchestrated score and stirring performances that form an essential experience for any operagoer.
Omar is co-produced by Spoleto Festival USA and Carolina Performing Arts at the University of North Carolina, Chapel Hill, and co-commissioned by LA Opera, Spoleto Festival USA, Carolina Performing Arts, Boston Lyric Opera, San Francisco Opera and Lyric Opera of Chicago.
Omar is inspired by Dr. Ala Alryyes’s translation of Omar Ibn Said’s autobiography in his book A Muslim American Slave: The Life of Omar Ibn Said.
Press Release
Omar Synopsis by Allison Chu
ACT I
Futa Toro (present-day Senegal), 1807. Omar ibn Said recites the Qur’an. Omar’s Mother leads the village in prayer to Allah, asking for guidance and assistance. Slavers have been pillaging the region, and Omar’s brother, convinced that an agreement will secure peace, plans to negotiate with them. While Omar prefers to leave his fate in Allah’s hands, his brother is determined to control his destiny, and he leaves to continue the negotiations. Omar’s brother soon discovers that he has been deceived, and the village is raided. Slavers overrun the village and begin taking people prisoner. In the chaos, Omar is separated from his family, and his mother is murdered.
The Middle Passage. Omar is shackled with other men in the hold of a ship. They do not speak the same language and struggle to introduce themselves. Inhumane conditions have caused disease and death. Two white slavers watch over the prisoners, concerned about their future profits.
The Slave Market, Charleston, South Carolina. Julie, an enslaved woman, is dragged into the market for sale by a white kidnapper. She plans to escape and return to the Owen plantation in Fayetteville. At the market, she encounters Omar, but he cannot understand her English. Undeterred, she tells Omar that if he were to escape, he should find Master James Owen in Fayetteville. The auction begins, and a family is separated. Omar’s cap is taken from him and discarded. Julie retrieves it. Omar prays and is visited by his Mother. He notices that Julie has gotten free of her bonds. To create a diversion, Omar falls to his knees and prays loudly, giving Julie a chance to escape. Omar is sold to Johnson.
Johnson plantation. Enslaved workers talk about the newcomer, Omar. Johnson demonstrates his vicious temperament. He yells at Omar in an attempt to break him, but from Omar’s perspective, the words are garbled; Omar cannot understand him. Finally, Johnson sends Omar to pick cotton in the fields.
Five months later. The spirit of Omar’s mother encourages Omar to pray to Allah and reminds him of Julie’s guidance. As Johnson approaches, Omar flees.
ACT II
Fayetteville County Jail. Omar has been captured and brought to the county jail, where he prays and writes on the jail walls. The people of Fayetteville swirl with questions about Omar: Where did he come from? Who let him get away? Omar’s writing, captures the attention of the daughter of plantation owner James Owen. Calling his writing “magic,” she encourages Owen to purchase Omar. Owen is fascinated by Omar’s religious piety and believes Omar can be converted to Christianity.
Owen plantation. Katie Ellen, one of the enslaved workers on the plantation, is surprised that Julie came back. Owen introduces Omar to the other enslaved people, and they welcome him and warn him of the dangers that persist there. Omar prays, asking for another sign from Allah, and he is reunited with Julie. She reveals that her father had worn a cap like his and had prayed in the same way. But her father was sold away when she was young. She encourages Omar to hold on “to memories, to histories, to feelings.”
Owen’s study. Omar is summoned and accompanied by Katie Ellen and Julie to Owen’s study. Owen and Taylor, a visitor from the North, discuss the prospect of converting Omar to Christianity. Owen gives Omar a Bible written in Arabic, and he and Taylor ask Omar to write the beginning of the Lord’s Prayer. Instead, Omar secretly expresses his desire to go home.
Later that day. Omar stands alone under a tree reading the Arabic Bible. He reflects on his life, thinks of his mother, and asks for forgiveness from Allah. In the final scene, Julie is amazed that Omar can read and write. She encourages him to write a book to tell his story, and Omar’s mother joins her call. Omar’s faith flows through his pen.
——-
Allison Chu is a PhD candidate in music history at Yale University. Her research focuses on the intersection of identity and opera in the twenty-first century. Additional contributions made by the Omar creative team.
Rhiannon Giddens
Composer
Rhiannon Giddens | Composer
Giddens’s lifelong mission is to lift up people whose contributions to American musical history have previously been erased, and to work toward a more accurate understanding of the country’s musical origins. Pitchfork has said of her work, “few artists are so fearless and so ravenous in their exploration,” and Smithsonian Magazine calls her “an electrifying artist who brings alive the memories of forgotten predecessors, white and black.”
Among her many diverse career highlights, Giddens has performed for the Obamas at the White House, served as a Carnegie Hall Perspectives curator, and received an inaugural Legacy of Americana Award from Nashville’s National Museum of African American History in partnership with the Americana Music Association. Her critical acclaim includes in-depth profiles by CBS Sunday Morning, the New York Times, the New Yorker, and NPR’s Fresh Air, among many others.
Giddens is featured in Ken Burns’s Country Music series, which aired on PBS in 2019, where she speaks about the African American origins of country music. She is also a member of the band Our Native Daughters with three other black female banjo players, Leyla McCalla, Allison Russell, and Amythyst Kiah, and co-produced their debut album Songs of Our Native Daughters (2019), which tells stories of historic black womanhood and survival.
Named Artistic Director of Silkroad in 2020, Giddens is developing a number of new programs for the organization, including one inspired by the history of the American transcontinental railroad and the cultures and music of its builders. She recently wrote the music for an original ballet, Lucy Negro Redux, for Nashville Ballet (premiered in 2019), and the libretto and music for an original opera, Omar, based on the autobiography of the enslaved man Omar Ibn Said for the Spoleto USA Festival (premiering in 2022).
As an actor, Giddens had a featured role on the television series Nashville.
Michael Abels
Composer
Michael Abels | Composer
He is known for his genre-defying scores for the Jordan Peele films Get Out and Us, for which Abels won a World Soundtrack Award, the Jerry Goldsmith Award, a Critics Choice nomination, and multiple critics awards. The hip-hop influenced score for Us was short-listed for the Oscar, and was even named “Score of the Decade” by The Wrap. Other recent media projects include the films Bad Education, Nightbooks, Fake Famous, and the docu-series Allen v. Farrow. Current releases include Beauty which premiered at the Tribeca Festival and is now streaming on Netflix, and Breaking (formerly 892) which premiered at Sundance and opened in theaters in August of 2022. Abels’ third collaboration with Jordan Peele, Nope, opened in theaters in July of 2022.
Abels’ creative output also includes many concert works, including At War With Ourselves for the Kronos Quartet, Isolation Variation for Hilary Hahn, and the opera Omar co-composed with Grammy-winning singer/songwriter Rhiannon Giddens, which opens at Los Angeles Opera in October 2022. His scores have been performed by the New York Philharmonic, the Chicago Symphony, the Los Angeles Master Chorale and many others. Some of these pieces are available on the Cedille label, including Delights & Dances and Winged Creatures. Current commissions include a work for the National Symphony, and a guitar concerto for Grammy-nominated artist Mak Grgic.
Abels is co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, gaming and streaming media.
His compositions include the one-act opera Homies and Popz, with a libretto by Bernardo Solano, commissioned by LA Opera and premiered in 2000.
Born in Phoenix, Arizona, Michael Abels attended the University of Southern California where he studied with James Hopkins and Robert Linn. Later on in his collegiate career, he studied West African music with Alfred Ladzekpo at the California Institute for the Arts. He currently serves as Director of Music for New Roads School in Santa Monica.
Michael Ellis Ingram
Conductor
Michael Ellis Ingram | Conductor
Kaneza Schall
Director
Kaneza Schall | Director
Her project GO FORTH premiered at Performance Space 122 and then showed at the Genocide Memorial Amphitheater in Kigali, Rwanda; Contemporary Arts Center New Orleans; Cairo International Contemporary Theater Festival in Egypt; and her alma mater, Wesleyan University. Her work JACK showed in BAM’s 2018 Next Wave Festival, Museum of Contemporary Art Chicago, and with its co-commissioners Walker Arts Center, REDCAT, On The Boards, Cincinnati Contemporary Arts Center, and Portland Institute for Contemporary Art. Her CARTOGRAPHY premiered at The Kennedy Center and toured to The New Victory Theater, Abu Dhabi Arts Center, and Playhouse Square, OH. Her dance work MAZE, created with FLEXN NYC, premiered at The Shed. She directed Tesori and Thompson’s Blue at Michigan Opera Theatre, and before that, Dessner and Tuttle’s Triptych, which played at LA Philharmonic, The Power Center, BAM Opera House, and Holland Festival.
Schaal recently directed the world premiere of Omar, Spoleto Festival USA, and its continuation at LA Opera. Her newest original work, KLII, is a National Performance Network Creation Development Fund Project co-commissioned by Walker Art Center in partnership with Contemporary Arts Center, Cincinnati, and REDCAT, and was co-commissioned as part of the Eureka Commissions program by the Onassis Foundation. Schaal will develop and direct a number of upcoming works, including Split Tooth with Tanya Tagaq (Luminato Festival), Hush Arbor with Imani Uzuri (The Momentary), and a new work with musician Bryce Dessner.
Christopher Myers
Production Designer
Christopher Myers | Production Designer
His sculptural work has been shown at PS1-MoMA, Contrasts Gallery in Shanghai and the Sundance Film Festival. Most recently Myers was included in the Prospect Biennial in New Orleans, where he and his collaborators, the Propeller Group, organized a funeral march that went from Saigon to the Lower Ninth Ward.
Jackie Davis
Intimacy Director
Jackie Davis | Intimacy Director
Kiara Benn
Choreographer
Kiara Benn | Choreographer
Amy Rubin
Set Designer
Amy Rubin | Set Designer
April Hickman
Costume Designer
April Hickman | Costume Designer
Elsewhere she has designed costumes for Theatre Squared, Yale Cabaret and for C1Media’s short film The Promotion, for which she was nominated for Best Costume Design at the LA International Film Festival Indie Short Fest.
She has also worked with major regional companies including Yale Repertory Theatre, the Goodman Theatre and Arena Stage.
Micheline Russell-Brown
Costume Designer
Micheline Russell-Brown | Costume Designer
After making a career in theater, Micheline shifted to film and television and has worked on productions including The Sopranos, Flight of the Conchords, Damages, The Good Wife and The Good Fight. Always missing the pulse of live theater, Micheline is thrilled to be returning to the wings of the stage. She lives in Brooklyn with her wife and two children, forever dreaming up ways to better dress her family.
Lucrecia Briceno
Lighting Designer
Lucrecia Briceno | Lighting Designer
Her designs have been presented at such venues as Spoleto Festival USA, The Public Theater, Oxford Playhouse (UK), Arena Stage, The Metropolitan Museum of Art, Dallas Theater Center, BAM (Fisher), The Kennedy Center, The Atlas Performing Arts Center, Berlind Theatre, Chicago Shakespeare Theater, La Mama ETC, Birmingham Repertory Theatre (UK), Culture Project, Pregones Theatre/PRTT, Intar Theatre, HERE Arts Center, Soho Rep, Ohio Theatre, and Irondale Center, among many others.
Internationally, her work has been seen in Caracas, Peru; Turkey; Scotland; Seoul, South Korea; Bogotá, Colombia; Norway; and England. Her design work for Crime and Punishment was part of the Venezuelan delegation for the 2015 Prague Quadrennial.
She is an associate artist with The Civilians; co-artistic director of Anonymous Ensemble, a device ensemble that creates new theater, performance media, and live film; and resident designer with Pregones Theater/PRTT and LaMicro Theater. She has also been a guest artist/lecturer at NYU, JMU, Princeton University, Hunter College, and the Pontificia Universidad Católica del Perú. She received her Master of Fine Arts from the NYU Tisch School of the Arts and is a member of 829.
Alejandro Fajardo
Lighting Co-Designer
Alejandro Fajardo | Lighting Co-Designer
Joshua Higgason
Video Designer
Joshua Higgason | Video Designer
Frandresha Hall
Wig-Makeup Designer
Frandresha Hall | Wig-Makeup Designer
Jamez McCorkle
Omar
Jamez McCorkle | Omar
Cierra Byrd
Fatima, Omar’s Mother
Cierra Byrd | Fatima, Omar's Mother
Recent operatic appearances include the Governess in The Queen of Spades at Des Moines Metro Opera, Lady Catherine De Bourgh in the stage premiere of Kirke Mechem’s Pride and Prejudice at Peabody Opera Theatre, and the Witch in Hänsel und Gretel at Opera Saratoga. On the concert stage, she has been a featured soloist in Mahler’s Symphony No. 3 with the Baltimore Symphony Orchestra under the baton of Marin Alsop.
Notable accolades include the Legacy Award from the National Opera Association’s Carolyn Bailey Argento Vocal Competition, being named a finalist in Opera Ebony’s Benjamin Matthews Vocal Competition, second prize in the Peabody Conservatory’s Vocal Studies Song Competition, and the Peabody Artist Excellence Award. She is an alumna of Des Moines Metro Opera’s apprentice artist program and Opera Saratoga’s young artist program. She holds degrees from Ohio State University and the Peabody Conservatory at Johns Hopkins University, where she studied with legendary mezzo-soprano Denyce Graves.
Cierra Byrd’s participation in the Lindemann Young Artist Development Program is sponsored by The Elroy and Terry Krumholz Foundation. Cierra Byrd appears by kind permission of The Metropolitan Opera Lindemann Young Artist Development Program.
Daniel Okulitch
James Owen / Johnson
Daniel Okulitch | James Owen / Johnson
Bass-baritone Daniel Okulitch has earned international acclaim for his portrayal of the Mozart roles of Don Giovanni, Count Almaviva, Figaro, and Leporello, which he has performed with LA Opera, Santa Fe Opera, and Dallas Opera. He recently made house debuts as Don Giovanni, Don Giovanni, Bolshoi Theatre; and Count Almaviva, Le nozze di Figaro, Opernhaus Zürich. This season, he returns to Don Giovanni with Teatro Udine.
Okulitch has created several principal characters, notably Ennis del Mar, Brokeback Mountain, Teatro Real; Seth Brundle, The Fly, Théâtre de Châtelet and LA Opera; Mark Rutland, Marnie, English National Opera; and LBJ, JFK, Fort Worth Opera and Opéra de Montréal. He recently debuted as The Protector, Written on Skin, Opéra de Montréal, and further explored George Benjamin’s work in Lessons in Love and Violence at Gran Teatre del Liceu. This season sees Okulitch in Omar with LA Opera, Carolina Performing Arts, and Boston Lyric Opera. He also reprises the role of Beck, Everest, The Barbican Centre.
Okulitch recently appeared as the bass soloist in Handel’s Messiah, Houston Symphony Orchestra; Beethoven’s Symphony No. 9, Indianapolis Symphony Orchestra; and Vaughan Williams’ Dona Nobis Pacem, Charlotte Symphony Orchestra. This season, he sings Mendelssohn’s Elijah for the first time with Symphony Nova Scotia.
Okulitch’s first solo recording, The New American Art Song, was released on GPR Records in 2011. He can further be heard in recordings of Chausson’s Le Roi Arthus with the BBC Symphony Orchestra, Pasatieri’s Frau Margot, and DiChiera’s Cyrano.
Brianna J. Robinson
Julie
Brianna J. Robinson | Julie
Neal Ferreira
Auctioneer / Taylor
Neal Ferreira | Auctioneer / Taylor
A much sought-after interpreter of new music, Mr. Ferreira made his European debut in the spring of 2021 as Laertes in the world premiere of Joseph Summer’s Hamlet with State Opera Rousse (Bulgaria). Ferreira’s enjoyed a successful performance as the Visitor in Boston Lyric Opera’s production of Philip Glass’s In the Penal Colony. The tenor has also been featured on the premiere recordings of Charles Wuorinen’s Haroun and the Sea of Stories (BMOP/sound), Joseph Summer’s The Tempest (Albany), Mario Castelnuovo-Tedesco’s The Importance of Being Earnest (Odyssey Opera), and James MacMillan’s Clemency (BIS Records).
Ferreira has also appeared with Florida Grand Opera, The Glimmerglass Festival, Opera Colorado, Virginia Opera, Anchorage Opera, Syracuse Opera, American Repertory Theater, Boston Modern Orchestra Project, and Guerilla Opera. He is a proud student of internationally renowned tenor Frank Lopardo.
Emma Sorenson
Eliza, Little Daughter
Emma Sorenson | Eliza, Little Daughter
Catherine Daniel
Katie Ellen / The Caller
Catherine Daniel | Katie Ellen / The Caller
Ms. Daniel studied voice with coloratura soprano Tracy Dahl at the University of Manitoba. She was a member of the Atelier lyrique de l’Opéra de Montréal, and later became a member of the Opera Studio Nederlands in Amsterdam.
Nicholas LaGesse
Abdul, Omar’s Brother / Abe
Nicholas LaGesse | Abdul, Omar's Brother / Abe
Baritone Nicholas LaGesse most recently starred as Sheriff Danny Loewe (Count Danilo), The Merry Widow, Pacific Opera Project. During his 2015 season, he debuted as Jameson in the critically acclaimed, revolving-location production of Hopscotch with The Industry in Los Angeles. LaGesse has also starred as Harlequin, Ariadne auf Naxos, Pacific Opera Project. Previous roles include Demetrius, A Midsummer Night’s Dream; Zuniga, Carmen; Ottone, L’incoronazione di Poppea; Claudio, Agrippina; Jupiter, Orpheus and the Underworld; and Marquis de la Force, Dialogues des Carmélites.
He has been honored as a finalist in the Palm Springs Opera Guild Competition, as the winner of the Chicago Chapter of the National Association of Teachers of Singing (NATS) Competition, and was a Bella Voce award recipient in the Bel Canto Foundation Competition. In addition to his musical endeavors, LaGesse is equally skilled in the world of Latin dance. He has trained with The Omambo Dance Project (winners of the 2014 and 2015 World Latin Dance Competition) and also danced with the companies Clave y Tumbao and Bachata Caliente in Los Angeles. He previously was on the dance faculty of Soho Dance Los Angeles, where he taught bachata and studied under former world champion Raul Santiago.
He holds a Bachelor of Music degree from Northwestern University, a Master of Music from UCLA, and has also trained at Marlena Malas’ summer voice institute at the Chautauqua Institution.
Fred C. VanNess Jr.
Amadou
Fred C. VanNess Jr. | Amadou
Boston-based tenor Fred C. VanNess, Jr. is a native of Kinder, Louisiana. Recently, he appeared as Russell Davenport in Dan Shore’s acclaimed new opera Freedom Ride, presented in a co-production by MassOpera and Chicago Opera Theater. Other engagements include Voltaire/Pangloss, Candide, Opera del West; Don Ottavio, Don Giovanni, Toronto Summer Opera and MassOpera; Don José, Carmen, NEMPAC Opera Project; and Rodolfo, La bohème, Longwood Opera.
VanNess is a member of Castle of our Skins, an organization dedicated to celebrating Black artistry through music. He was the tenor soloist in the world premiere of Samuel Beebe’s Remember the Sea, Castle of our Skins; and the tenor quartet soloist in the world premiere of Geoffrey Gibbs’s Tide Flowers, University of Rhode Island Artist Series. He sang in several solo recitals with Lake Charles Symphony, Salem Philharmonic, and Coushatta Casino Resort. Other notable performances include Schöpfungsmesse, Concord Chorale; Judas Maccabeus, Handel by Candlelight; and Messiah, Tremont Baptist Church.
VanNess has developed and performed two one-man shows. His most recent show, When I Think of Home…, premiered at McNeese State University, following the success of his first show, Beethoven to Broadway, at the Larcom Theatre in Beverly, Massachusetts.
VanNess received his Graduate Performance Diploma from the Longy School of Music and his Master of Music from Louisiana State University. He was awarded first place for the North Shore Star, presented by the North Shore Music Theatre and The Beverly Rotary Club. He is also a recipient of The Coushatta Tribe of Louisiana Career Grant.
Christon Carney
Suleiman
Christon Carney | Suleiman
Christopher Humbert Jr.
Olufemi
Christopher Humbert Jr. | Olufemi
Humbert was selected to join Opera Theatre of Saint Louis during in 2020 as a Gerdine Young Artist and featured on St. Louis, Missouri’s Channel 9 for the inaugural “Songs for St. Louis” televised concert series. He is a frequent oratorio and concert soloist. Recent repertoire includes Ein Feste Burg ist unser Gott (Bach), Matthäus-Passion (Schütz), Johannes-Passion (Bach), and Messiah (Händel). In spring 2023, Humbert was the bass soloist in Mozart’s Requiem with the Erie Philharmonic. He made his Carnegie Hall debut as a soloist in Vaughan Williams’ Dona Nobis Pacem (Manhattan Concert Productions).
Humbert was recently named a winner of the St. Louis District of the Metropolitan Opera Laffont Competition. Other competition credits include first place in Opera Guild of Dayton’s Tri-State Vocal Competition (2019) and multiple classical music and musical theater awards from the National Association of Teachers of Singing. He has since joined the Benenson Young Arist Program (Palm Beach Opera) and made his professional debut as Zuniga in Carmen under the baton of Anetolli Allemandi, alongside operatic inspirations like J’Nai Bridges and Rihab Chaieb. He is currently pursuing an M.M. in opera performance at Boston Conservatory and is a graduate of the Capital University Conservatory of Music. Humbert will join the Ryan Opera Center (Lyric Opera of Chicago) for the 2023/24 season.
ORCHESTRA
VIOLIN I
Heidi Braun-Hill
Jodi Hagen
Zenas Hsu
Yeolim Nam
Annie Rabbat
Christine Vitale
VIOLIN II
Stacey Alden
Sarah Atwood
Robert Curtis
Colin Davis
Rohan Gregory
VIOLA
David Feltner
Donna Jerome
Don Krishnaswami
Kenneth Stalberg
CELLO
Steven Laven
Jing Li
Jan Pfeiffer-Rios
BASS
Barry Boettger
Robert Lynam
FLUTE
Ann Bobo
Iva Milch
OBOE
Nancy Dimock
Grace Shryock
CLARINET
Nicholas Brown
Jan Halloran
BASSOON
Rachel Juszczak
Margaret Phillips
HORN
Dirk Hillyer
Clark Matthews
TRUMPET
Bruce Hall
Jesse Levine
TROMBONE
Hans Bohn
Robert Couture
Cameron Owen
TIMPANI
Jeffrey Fischer
PERCUSSION
William Manley
Gregory Simonds
Nancy Smith
HARP
Ina Zdorovetchi
PIANO
Brendon Shapiro
Emerson Cutler Majestic Theatre
219 Tremont Street | Boston, MA | 02116
PUBLIC TRANSPORTATION
Several MBTA “T” stations are within blocks of the theater.
- Green Line Stop: Boylston Street
- Orange Line Stop: Chinatown, Downtown Crossing
- Red Line Stop: Park Street Station, Downtown Crossing
- For schedules, fares, and alerts, visit the MBTA.
ACCESSIBLE PARKING
Vehicles displaying a valid ADA placard can find accessible parking spaces directly around the corner from the Emerson Cutler Majestic Theatre on Stuart Street in front of Rock Bottom Restaurant & Brewery.
The LAZ Parking Garage at 660 Washington Street, Boston, MA 02111 is also designed to accommodate accessibility needs.
STREET PARKING
Street parking is very limited in the Theatre District. Parking is not permitted on Washington Street or Tremont Street in front of the theatre at any time.
GARAGE PARKING
There are many parking garages within a few blocks of our theatres. Many offer evening or event rates. Please contact each garage directly for the most up-to-date information.
“Striking…stunning…imaginative…BLO’s ‘Omar’ is a prayer answered!”
“A poetic and meditative prayer honoring the memory of enslaved Muslims”
“Soprano Brianna J. Robinson [is] a radiant voice and presence.”
– Boston Globe
May 8, 2023
“Omar triumphed in a sold-out run!”
“intelligent and emotionally gripping {that] evoked beauty, revulsion, fear, and the universality of humanity”
“Cierra Byrd consistently produced heart-wrenching and warm tones.”
“Brianna J. Robinson shined…rightfully earning applause at the end of her aria.”
“Jamez McCorkle gave the standout performance through his emotive facial expressions and his powerful, clear, and rich voice.”
“Everyone involved in the BLO’s production of Omar deserves praise for putting on such a thoughtful, emotional, and above all excellent show”
– Boston Musical Intelligencer
May 11, 2023
“OMAR’s storytelling is an act of life and liberation…active, purposeful, and dramaturgically satisfying”
“Expansive in both scope and depth…[with a] robust score that seamlessly integrates musical influences across geographic and temporal lines.”
“In the hands of Rhiannon Giddens, Michael Abels, and Kaneza Schaal, OMAR is a séance…Omar’s spirit, with a host of others, was alive!”
– New England Theater Geek
May 9, 2023
Omar, by Rhiannon Giddens and Michael Abels, The 2023 Pulitzer Prize Winner in Music – The Pulitzer Prizes
Get out! A QC friend wins the music Pulitzer Prize – OurQuadCities
Boston Lyric Opera CEO Brad Vernatter – Bloomberg News Boston
Boston Lyric Opera CEO Brad Vernatter – Bloomberg News Boston (Version 2)
Omar’ wins the Pulitzer Prize – OperaWire
Rhiannon Giddens and Michael Abels Win the Pulitzer Prize for Music – New York Times
Spoleto Festival’s commissioned opera ‘Omar’ wins Pulitzer Prize – The Post and Courier
Michael Abels and Michael Ingram Discuss OMAR – WGBH “BPR”
Rhiannon Giddens tells the story of Omar ibn Said in her first opera – WGBH “All Things Considered”
Abels and Ingram on BLO Opera Omar – Boston Musical Intelligencer
Confronting history in ‘Omar’ – The Bay State Banner
【九零后老妈随笔】4/19/2023 – 4/22/2023珍惜亲情友情,感恩岁月静好 – Boston Chinese News
“BPR” Brian McCreath and James Bennett Discuss OMAR – WGBH “BPR”
18 Things We Can’t Wait To Do this Spring and Early Summer – Boston Magazine
18 Things We Can’t Wait To Do this Spring and Early Summer – Boston Magazine
30 of the best dance, theater, book, art, and classical music events in New England this spring – Boston Globe Magazine
Things to do around Boston this weekend and beyond – Boston Globe “The Ticket”
Boston’s theater scene sizzles this season – Boston Herald
5 Questions to Rhiannon Giddens and Michael Abels about Omar – I CARE IF YOU LISTEN (ICIYL)
A Slave Memoir Becomes an Opera – Humanities
Rhiannon Giddens: The Storyteller – Garden & Gun
Rhiannon Giddens Is Writing an Opera – New York Times
Hear what people are saying about this new opera –
“Remarkable…a sweeping achievement… inspired by bluegrass, hymns, spirituals and more”
“Moving, joyous and intensely spiritual!”
“an unforced ideal of American sound: expansive and ever-changing.”
–New York Times
“A hit! Gripping and beautiful.”
–Atlanta Journal Construction
“[a] tonal, lushly orchestrated score”
–Wall Street Journal
“A broadly American story…and a thoroughly American opera…[with] lush orchestrations”
“The creative team cleverly interprets interweavings of language and believe on the opera stage.”
–NPR
“Profound and moving”
– Arts ATL
Please note that at the Emerson Cutler Majestic wheelchair accessible locations are only located on the Orchestra level as this historic venue does not have an elevator to serve upper floors.
Masks strongly recommended but not required inside the Emerson Cutler Majestic Theatre.
Dive deeper into the musical experience with a half-hour discussion immediately following each performance.
May 4, 2023 |Ashleigh Gordon, Castle of Our Skins Artistic & Executive Director; professional violist
May 6, 2023 | Ala Alryyes, PhD Associate Professor Queens College, CUNY 2011 translation of Omar ibn Said’s Life, entitled: A Muslim American Slave: The Life of Omar ibn Said.
May 7, 2023 | Morgan Beckford, Director of Community Connects, Silk Road Project; professional singer.
Over the last few years, we have been in the bones of the country. The bones of our own psyches. And we have been in the bones of our industry, of opera, of what it means to gather and share breath.
The opera we share with you touches all these bones: the story of Omar ibn Said, a Fulani man, forced to the United States and enslaved, literate before stolen from his home in West Africa, and author of an autobiography.
The West has a fantasy of its singularity, it imagines itself as consistent and fixed. Opera lost itself to that lie. Tonight, we return the opera to itself. A form built on hundreds of years of cultural exchange, sonic exchange, formal and aesthetic encounters with “others.” A form dependent on many different kinds of artists teaming up. A form built of hybridity. Perhaps one of the only places big enough for Said’s journey, the contradiction, the violence, the holiness, the omissions, the terror, and the triumph.
Slavery, of course, existed before people were torn from their homes in West Africa at gunpoint and enslaved in the United States. The institution of American Slavery created and named a permanent condition attached to your body.
The ferocious clarity in American Slavery on the power of language was such that one of the most sacrosanct laws was that you could not teach enslaved people to read. Or write.
And here, we have a text! From Omar ibn Said. Written by Omar. An Islamic scholar who was literate before mercenaries enslaved him. His autobiography is the prayer from which the music and words you hear tonight were created. The glory and triumph that his words exist, even if generated under duress, is holy.
We gather to tell you Said’s story through the contest of languages in his life, spiritual languages, cultural languages, spoken and written languages, the language of materials like wood and fabric. And ultimately, his holding of all these languages simultaneously brims with resistance, omission, refusal, and reincarnation.
Listening to the story of Omar ibn Said tonight, together, let us begin resetting the bones.
KANEZA SCHAAL
Director