From CLASSICAL VOICE NORTH AMERICA:

It was an intriguing experiment with moments of gorgeous poetry and some very fine singing. Director Chloe Treat staged the piece imaginatively, taking advantage of the clean acoustics of the Ellen Stewart Theatre. She used the proscenium stage for the orchestra while placing the action on the floor where nightclub-style tables were set up. A bar was built on a dais in the middle, and a high, square mini-stage at the foot of steeply raked bleachers was also used (set design by Hayley E Wallenfeldt). The audience on the bleachers sat at the back end of the hall; some were also seated along the walls on both the main floor and the balcony level, and a few at the club tables.

Asia describes this piece as “not a jazz opera, but an opera about jazz.” His style hews closer to Aaron Copland than to Charlie Parker. There are some jazz elements — syncopation, bebop-inspired dissonance, intensive use of horns — blended into the score.

Anguish and grief were skillfully wrought in the poetic words — “Make my heart a place where friends are dancing without shoes” — and in the music. There was a lot to admire about the work itself and its execution. The 15-member choir, often split into two lines on facing side lofts, had a rich, moving sound when delivering Asia’s skillful choral writing. Indeed, the chorus provided some of the most emotionally accessible moments.

Conductor Enrico Fagone impressively wrangled both the 13-piece orchestra and the singers scattered throughout the large space. Hugo Moreno on trumpet and Julie Dombroski on trombone (Asia’s original instrument in his youth) stood out in particular for their mastery of the score’s rhythmic and harmonic complexities.

As Babar, bass Michael Mensah made the floorboards rumble with satisfying low notes. Although baritone Zachary Angus didn’t have much stage time as the wily, mob-connected Caviar Henry, he made good use of it, slithering through his role. Playing the Tin Palace’s bartender, Diamond Jim, countertenor Jordan Rutter-Covatto’s colorful, reedy timbre enhanced a warm characterization.

As Pablo, tenor Spencer Hamlin supplied a brilliant voice and a likable manner. With a clear, fluid soprano, Victoria McGrath sang Ponce’s grieving sister, Maria, who becomes Pablo’s lover. Powerhouse mezzo-soprano Chantelle Grant sounded thrilling as Black Hattie.