Fire Shut Up in My Bones is an English-language opera in three acts, with music by Terence Blanchard and libretto by Kasi Lemmons.
The opera was first performed at the Opera Theatre of Saint Louis in 2019, and is based on the 2014 memoir of the same name by Charles M. Blow. It opened at the Metropolitan Opera in 2021, the first opera by a black composer ever performed there.
The narrative focus of the opera is on Charles, a young African-American man growing up in poverty. As he comes of age, he must decide how to deal with the sexual abuse he previously suffered at the hands of his cousin. At the climax, he decides not to take revenge.
The opera includes flashbacks and the appearance of the protagonist's internal voices in the form of female spirits.
Blanchard described Fire Shut Up in My Bones as "opera in jazz".[1] It is the composer's second opera, following Champion in 2013. Aside from opera, Blanchard has won five Grammy Awards for his jazz records.[2] The title of the opera, which is also the title of Blow's memoir,[3][4] is a biblical reference, specifically quoting Jeremiah 20:9.[5]
Whilst the opera's libretto and narrative reflect the content and themes of Blow's memoir, it is not a comprehensive retelling of the book. The essential elements are reflective of Blow's life. As noted by Patricia J. Williams in a review of the book: "He grows up amid mean if not absolute poverty; he is molested both by a cousin and by an uncle; his father is distant, an alcoholic; and his parents separate under circumstances that involve his mother waving a gun about on more than one occasion".[6]
The Metropolitan Opera's 2021–2022 season opened with Fire Shut Up in My Bones on September 27, 2021.
It was the first opera by an African-American composer to be performed at the Metropolitan Opera since its founding in 1883.[10][11] The conductor was Yannick Nézet-Séguin. The co-director and choreographer was Camille A. Brown.[12]Fire Shut Up in My Bones had not been intended as a season opener at the Metropolitan Opera, but general manager Peter Gelb stated that the Black Lives Matter movement had informed his decision to move the piece to such a prominent slot.[13] It was recorded as part of the Metropolitan Opera Live in HD film series [14] and the recording won a Grammy for Best Opera Recording in 2023.[15][16][17]
The Lyric Opera of Chicago presented the opera in March/April 2022. These performances were conducted by Daniela Candillari.[18]
The story is based on the memoir of journalist Charles M. Blow (pictured)
Act 1
Charles Blow, age 20, drives down a Louisiana backroad with a gun in the passenger seat. Destiny sings to him, calling him back to his childhood home. He begins reliving memories from his childhood.
Charles’ seven-year-old self, Char’es-Baby, talks to his mother, Billie. He is desperate for affection, but Billie is too frazzled to give him the validation that he craves. They are dirt poor. Billie works in a chicken factory, but she dreams of Char’es-Baby getting a good education and escaping their town. Her husband, Spinner, is a womanizing spendthrift. When she hears that he’s flirting with other women, she confronts him at gunpoint. She doesn’t shoot, but Billie tosses Spinner out. Billie and her five sons move in with Uncle Paul. Char’es-Baby dreams of a different life, collecting “treasure” from the junkyard while Loneliness sings to him. One day, his cousin Chester comes to visit. When Chester sexually abuses him, he is too horrified and ashamed to say anything.
Adult Charles begins to weep as he recoils from these memories, while Destiny reminds him that there is no escape.
Act 2
As Charles grows into a teenager, he is full of confusion and rage. He attends a church service where the pastor is baptizing people, promising that God can wipe all sins clean. Charles decides to get baptized, but phantom terrors still haunt him. Charles tries to talk to his brothers, but they refuse to engage in any “soft talk.” Loneliness reappears, promising to be his lifelong companion. Evelyn, a beautiful young girl, interrupts Charles’s reverie. Their chemistry is clear. Charles feels a new sense of independence and is finally ready to strike out on his own; Grambling State University has offered him a full scholarship. Billie is left alone to reflect on all that she has sacrificed for her family and wonders what might lie ahead.
Act 3
Charles is one of several fraternity pledges being hazed at his college. Charles stoically takes each indignity in stride: Pain is nothing new for him. Later, he goes to a nightclub and meets an attractive young woman, Greta. They begin a passionate love affair. Charles eventually shares his awful secret with Greta, only to find out that she’s still seeing someone else. Charles is left alone again. He calls home, desperate to hear his mother’s voice. To his shock, Billie tells him that Chester has come back to visit. Charles instantly decides to return home to confront Chester, gun in hand.
Charles sits in his car on the dark road, contemplating the choice lying before him. Destiny starts to sing to him once again, seductively promising to stand by him through to the bloody end. As Charles reaches his childhood home, Char’es-Baby appears, urging him to leave his bitterness behind. Charles must decide whether to exact his revenge or begin his life anew.
[19]
Critical reception
Fire Shut Up in My Bones has received generally favorable reviews, with critics praising Blanchard's score and the "compassionate" storytelling. James Jorden called it "an opera with legs" and predicted many future revivals. He further stated that "At its current length of two and a half hours, Fire Shut Up in My Bones is in the running for best American opera of the 21st century. Trimmed of perhaps 20 minutes... I think it would be a clear winner."[20]
Composition
Regarding the composition, critics were divided on Blanchard's influences. Giovanni Russonello and Seth Colter Walls of the New York Times wrote that the music is generally based on Italian opera, but Blanchard's jazz influence is also audible.[21] Describing Blanchard's music, Chris Jones of the Chicago Tribune disagreed with other critics who emphasize Blanchard's jazz influence, saying 'Rather, under the baton of Daniela Candillari, you hear Blanchard’s driving confidence in operatic mode, both harmonic and dissident, both aware of European formative precedent and sharply critical in subtle ways."[22]
2019 Opera Theatre Saint Louis
Reviewing the premiere for the New York Times, Anthony Tommasini described the music variety of Blanchard's score: "Restless vocal lines shift from plaintive lyrical phrases, to sputtered outbursts, to a style that seems a jazz equivalent of Italianate arioso". Though noting that the opera tends to "melodramatic excess", Tommaisini praised the "brilliantly simple, evocative production", and singled out Julia Bullock and Davóne Tines in leading roles as "ravishing" and "terrifyingly volatile" respectively.[8]
2021 Metropolitan Opera
Angel Blue received praise for her role in the 2021 Met Opera production
In reviews of the 2021 Metropolitan Opera production, critics praised the interpretation of the lead role as the adult Charles by baritone Will Liverman, who critics described as "subtle", "nuanced" and "powerful". There were, however, concerns that he was at times overwhelmed by the orchestra.[23]
In a review for Parterre Box Gabrielle Ferrari wrote "Blanchard's score is richly colored and beautifully orchestrated". With regard to the storytelling and characterization, she went on to say the score was written "mainly with a clear-eyed compassion for his characters, to whom he never condescends nor condemns".[24]
Writing for Vulture, critic Justin Davidson opined in an otherwise positive review that "in their enthusiasm, composer and conductor sometimes seem to have forgotten about the singers, who struggle to be heard over all the engaging churn". Davidson also stated that Fire Shut Up in My Bones was a conventional opera which did not "blow up the genre".[3]
Alex Ross of The New Yorker praised Angel Blue for her performance of three "inner voice" roles, describing her as "soaring above the orchestra".[7]
Walter Russell III, as the younger Charles, received acclaim from the audience and critics. He was 13 years old at the time of the production.[25]
2022 Lyric Opera of Chicago
Chris Jones of the Chicago Tribune praised Liverman, who retained the lead role of Charles, describing his performance as having an "aching vulnerability". In his review, Jones emphasized the "historical weight" of the opera, and called it "a voyage of considerable complexity".[22]
2023 Grammy Award
The audio recording of the stage production won a 2023 Grammy for Best Opera Recording[26][27] with The Metropolitan Opera Orchestra and The Metropolitan Opera Chorus, along with Nézet-Séguin, producer David Frost, baritone Will Liverman, sopranos Latonia Moore and Blue and treble Russell III, making him one of the youngest recipients of the awards at the time.[28]
Video recording
2021 (HD video): Will Liverman as Charles; Angel Blue as Destiny/Loneliness/Greta; Latonia Moore as Billie; Ryan Speedo Green as Uncle Paul; Chauncey Packer as Spinner; Walter Russell III as Char'es-Baby; Metropolitan Opera Orchestra and Chorus, conducted by Yannick Nézet-Séguin; James Robinson (co-director); Camille A. Brown (co-director and choreographer); Allen Moyer (set designer); Paul Tazewell (costume designer); Christopher Akerlind (lighting designer); Greg Emetaz (projection designer); Gary Halvorson (video director); Audra McDonald (host); recorded live at the Metropolitan Opera House on October 23, 2021; available for streaming at Met Opera on Demand[29]
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