Guest Post: Jane Fitzpatrick, Contributing Writer for Religion Matters

Religion is no stranger to the opera world. Richard Wagner’s musical devotion to Norse mythology and endless operatic retellings of ancient Greek myths are just a few examples. A variety of tales driven by sins and divine justice have also graced the world’s stages for centuries.

There are a multitude of relevant works that uniquely incorporate religious and historical themes across traditions, spaces, and time. This article briefly analyzes five operas. Each analysis also includes additional recommendations for further diversifying the conversation. Whether these titles are familiar, or the reader is brand new to operatic art forms, this discussion is accessible to the religions scholar, the opera fanatic, and the casually-intrigued learner alike.

Akhnaten

A taste of Ancient Egyptian history with a contemporary sound, Philip Glass’s Akhnaten tells the story of an Egyptian pharaoh devoted to converting his society to a new religion under Aten, a god represented by a sun disc. His life entwines political and religious power as the pharaoh bans the old religious rituals in reverence to his chosen god. The fate of the real historical figure remains a mystery but, in the opera, Akhnaten is assassinated, leaving the throne to young Tutankhamen. It seems that Aknaten’s new religion was not as popular as he had hoped; the Egyptians, as historians have discovered, returned to polytheistic tradition following his reign.

American composer Philip Glass is known for working with existential or mystical ideas and modern movement, having also composed the highly acclaimed Einstein on the Beach and Satyagraha. His work often reflects upon the most complex aspects of the human experience, religion included.

If you like Akhnaten, try:

• Philip Glass’s Satyagraha
• Modest Mussorgsky’s Boris Godunov

Boris Godunov

Sixteenth century Russian Tsar, Boris Godunov, strategically climbed his way to political dominance — supposedly through the murder of a young heir to the throne. But Godunov met his tragic end amid religious strife and personal guilt, or so the opera goes.

Modest Mussorgsky’s Boris Godunov has long represented Russian national identity as an artform, and the presence of the Russian Orthodox Church is strongly evident through symbolic references, musical devotions, and guilty consciences. The titular character displays the lasting power of the Church and its influence through his dramatic descent into madness because of his sinful past.

As a Russian himself, composer Modest Mussorgsky created art for his homeland that has since been internationally recognized as an artistic embodiment of Russian identity. Russian culture, religion, and history all remain at the forefront of his work. Boris Godunov has become particularly controversial, facing cancellations and protests across the world’s stages, amid the current Russia-Ukraine conflict.

If you like Boris Godunov, try:

• Alexander Borodin’s Prince Igor
• Giuseppe Verdi’s Macbeth

Dead Man Walking

Sister Helen Prejean, known simply as Sister Helen in Jake Heggie’s Dead Man Walking, wrote a memoir by the same name in 1993 based on her friendships with prisoners on death row. Led by her faith in both God and humanity, Sister Helen has fought against the death penalty and devoted much of her life to providing spiritual guidance and care to convicts and their families.

Jake Heggie’s opera follows the story of Sister Helen’s relationship with Joseph de Rocher, a prisoner who was incarcerated for murder. Their friendship starts off awkwardly, then develops naturally as they find connections through music and shared humanity. As his spiritual advisor, Sister Helen guides Joseph through his final verdict and through his final moments of life.

While Heggie’s opera holds beliefs about abolishing the death penalty in America that may be interpreted as political stances meant to fluster audiences, his female lead is driven by her Catholic faith and love for humanity. These themes have emotionally impacted audiences at a spiritual level, as they witness the most relatable experiences of friendship, trauma, and forgiveness through musical mastery.

If you like Dead Man Walking, try:

• Francis Poulenc’s Dialogues des Carmélites
• Giacomo Puccini’s Suor Angelica

Nabucco

Biblical and historical figure King Nebuchadnezzar of Babylon destroyed the city of Jerusalem during the sixth century and became known both for his successful reign as well as his building projects. Though Babylon reached new heights and prospered under his rule, “Nabucco,” as he is known in Giuseppe Verdi’s operatic retelling, stood as the villain to the Hebrew people of his day for forcing them into captivity.

Giuseppe Verdi’s Nabucco brings drama and romantic turmoil to the Babylonian conqueror’s story. Every twist and turn finds closure, not through romance or victory, but rather, through Nabucco’s religious awakening. Known as an instrument of God’s work in Biblical history, Nebuchadnezzar’s story of conversion serves as a uniquely inspiring tale of religious redemption. Nabucco’s daughters, Fenena and Abigaille, also play significant roles in their quests for love and power.

Italian composer, Giuseppe Verdi, did not display much religious fervor in his personal life. Yet, much of his most popular work incorporates faith, tradition, and sacred themes.

If you like Nabucco, try:

• Giuseppe Verdi’s Aida
• Giacomo Puccini’s Tosca

Omar

A wealthy, educated Muslim scholar was kidnapped from his home in West Africa and forced onto a slave ship bound for America in 1807. His name was Omar, and an interpretation of his life and experiences is told through Rhiannon Giddens’s opera, fittingly entitled, Omar. The opera follows its titular character from his home in Africa, to a slave ship, to a slave market and a plantation, to a jail cell, and through a spiritual transcendence.

After endless trials and grief, Omar writes passages from the Qur’an across the walls of his cell in a Fayetteville County Jail. Owen, a slave owner, buys Omar and gives him a Christian bible in Arabic, hoping Omar will convert. The opera concludes with Omar praying to Allah for the meaning of his many challenges in life, referring to Psalm 23 from the perspective of a Muslim slave. He is joined by a company of singers to praise Allah before the curtain descends.

Giddens’s work creates a unique space for religious exploration in the context of slavery and evangelization. While Omar accepts the Bible that is gifted to him from his new owner, his experience as a slave and his devotion to his faith force the audience to see the deeper meanings and complications of his interfaith reflections.

If you like Omar, try:

• Terence Blanchard’s Fire Shut Up in My Bones
• Anthony Davis’s X: The Life and Times of Malcolm X

About the Author

Jane Fitzpatrick is an avid researcher of the intersections between religious traditions and international affairs with a passion for opera and art. She earned her master’s degree in International Affairs from Penn State University and has a Bachelor’s degree in Religious Studies from Gettysburg College. Jane has previously provided research assistance for the U.S. Department of Homeland Security, the Strategic Religious Engagement Unit of the U.S. Department of State, and the U.S. Army War College. Jane’s work has also been published through The Interfaith Observer, The London School of Economics Religion and Global Society Blog, and more. In 2023, Jane became a Contributing Columnist for ApreciateOpera.org.