The artwork of Distinguished University Professor Emeritus David C. Driskell is part of the university production’s set.

Trumpeting the Triumphant Human Spirit

What better signature event to celebrate the university’s 150th Anniversary than a production of “Vanqui,” an American opera that tells a touching love story that spans 150-plus years from 1700 to 1861. Set to the lyrical poetry of librettist John A. Williams and the music of composer and virtuoso flutist Leslie Burrs, it features in the title role Carmen Balthrop ’71, voice professor in the School of Music and an internationally acclaimed soprano in her own right.

“Vanqui” is uniquely American, a kind of aural assortment of American music that composer Leslie Burrs describes as “urban classical.” Burrs mixes all of the musical genres he was exposed to while growing up in Philadelphia: jazz, classical, blues, African and Gospel styles. “I wanted to make an artistic statement about the eclecticism of our society, finding my own voice for bringing those genres together rather than being true to one particular genre of music,” he says.

School of Music faculty member and alumna Carmen Balthrop ’71, soprano, performs the title role in “Vanqui” composed by Leslie Savor Burrs (right).

Bringing a new multi-media element to this university production is the artwork of Distinguished University Professor Emeritus David C. Driskell. Balthrop had suggested that Driskell, an artist and scholar regarded as one of the world’s leading authorities on African American art, would add a wonderful new visual context for “Vanqui,” and a new level of collaboration began.

The story—part mythical, part historical—is about a young runaway slave, Prince, who is killed during a slave revolt when his wife, Vanqui, is sold to another plantation. Vanqui’s new owner’s wife kills her in a fit of jealousy. Resurrected as spirits, Vanqui and Prince “ride the wind” in search of each other. During their journey they encounter famous freedom fighters, including Harriet Tubman, Nat Turner, Frederick Douglass and John Brown. Reunited in the end, Vanqui and Prince symbolize the ultimate triumph of the human spirit.

Balthrop knew there was something special about “Vanqui” from the minute she heard the music. When the new opera was commissioned by Opera Columbus, with whom Balthrop had collaborated before, her name came up repeatedly as someone to consider for the title role. Burrs needed little persuasion after hearing some tapes of her singing. “We knew she was the best choice for the lead,” he says. Balthrop returns the compliment, saying that her character’s music is haunting and “a beautiful fit. … the part was written in a key that brings out the best in me.” Critics agree, saying that she sings the score “with mystical rapture and warm, luscious tone.”

For those who have limited or no exposure to opera or have felt intimidated by the art form in the past, “Vanqui,” assures Balthrop, will be a perfect introduction. “Whatever music you think you like, you are going to find it in ‘Vanqui,’ ” she says. I’ve never seen anyone, in the eight or nine years I’ve been connected to this opera, who wasn’t ecstatic about it.” —AH

To listen to audioclips of “Vanqui” and to read the synopsis, visit the Clarice Smith Center’s Web site: www.claricesmithcenter.umd.edu.

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