\n<\/p>\n
In a theater at the Guggenheim Museum in Manhattan one recent afternoon, a rehearsal for the coming opera \u201cIntelligence,\u201d about Civil War-era spies, was about to begin.<\/p>\n
But as the stage lights came on and the music blared, there were no singers in sight. Instead, six dancers from Urban Bush Women<\/a>, a dance troupe in Brooklyn, were front and center, locking arms, jumping into the air and improvising movements inspired by African traditions.<\/p>\n \u201cI want to see if we can find that physical charge,\u201d Jawole Willa Jo Zollar, the founder<\/a> of Urban Bush Women, who is directing and choreographing the opera, told the dancers. \u201cLet it breathe. Let it flow.\u201d<\/p>\n \u201cIntelligence,\u201d which opens the season at Houston Grand Opera<\/a> on Friday, tells the story of Elizabeth Van Lew<\/a>, a member of an elite Confederate family, who operates a pro-Union spy ring with the help of Mary Jane Bowser, an enslaved woman in her household. The opera, with music by Jake Heggie and a libretto by Gene Scheer, offers a meditation on the legacy of slavery and the overlooked role of women in the war.<\/p>\n<\/div>\n<\/div>\n \u201cIntelligence,\u201d more than eight years in the making, stands out for another reason. While dance is an afterthought or an embellishment in many operas, it drives this drama, with eight performers from Urban Bush Women sharing the stage with seven singers, including the mezzo-soprano Jamie Barton as Van Lew and the soprano Janai Brugger as Bowser. The dancers serve as a Greek chorus, falling like soldiers on a battlefield or passing secrets along a chain.<\/p>\n \u201cIt\u2019s a big story, and dancers are an integral part of the storytelling force,\u201d Zollar said. \u201cThey\u2019re not just coming in for their number or routine.\u201d<\/p>\n The dance-centered approach may be unusual, but it is a natural fit at Houston Grand Opera. For decades the company has been known for innovation, helping birth important 20th-century works like Leonard Bernstein\u2019s \u201cA Quiet Place\u201d (1983) and John Adams\u2019s \u201cNixon in China\u201d (1987).<\/p>\n<\/div>\n<\/div>\n Under David Gockley, Houston Grand Opera\u2019s general director from 1972 to 2005, the company embarked on an ambitious effort to commission dozens of new works and garnered an international reputation for risk-taking. \u201cIntelligence\u201d is the company\u2019s 75th premiere \u2014 and the fourth opera by Heggie to debut in Houston.<\/p>\n<\/div>\n<\/div>\n Khori Dastoor, Houston\u2019s general director and chief executive since 2021, said the company aimed to build on its legacy.<\/p>\n \u201cWe can be an important opera company, but also maintain our nimbleness and spirit of innovation,\u201d she said. \u201cWe aren\u2019t having debates about whether change is good. We\u2019re always thinking about what\u2019s next.\u201d<\/p>\n Houston Grand Opera\u2019s agility served it well during the pandemic. While many cultural organizations are still struggling to win back audiences, Houston is in a relatively strong position, with a budget this fiscal year of about $33 million, compared with about $24 million before the pandemic. Ticket sales were up about 8 percent last season, compared with the 2018-19 season, even as subscriptions fell. Donations have been robust; earlier this year, the company secured a $22 million gift, the largest in its history.<\/p>\n And audiences remain enthusiastic. The company has been working to draw more Black, Latino and Asian residents by venturing outside the opera house more often. Last season, it partnered with 140 community groups and presented operas at 32 locations across Houston. On a night in late October, \u201cIntelligence\u201d will be performed before an audience of nearly 2,000 primarily low-income high school students.<\/p>\n \u201cMost of our audience at Houston Grand Opera does not experience us in the opera house; they experience us in their neighborhood or at a school,\u201d said Patrick Summers, the company\u2019s artistic and music director. \u201cWe let people in our own community tell us their stories.\u201d<\/p>\n The artistic focus is also shifting, even as classics like Puccini\u2019s \u201cMadama Butterfly\u201d and Mozart\u2019s \u201cDon Giovanni\u201d remain staples of the repertoire.<\/p>\n<\/div>\n<\/div>\n Last season the company premiered \u201cAnother City<\/a>,\u201d a chamber opera about homelessness in Houston that is based on interviews with residents, inside a nondenominational Christian church and service organization. And in 2021, the company staged the premiere<\/a> of \u201cThe Snowy Day,\u201d an opera based on the 1962 children\u2019s book known as one of the first to prominently feature a Black protagonist.<\/p>\n \u201cEvery opera company is really a reflection and expression of their city,\u201d said Dastoor, the first woman to serve as general director. \u201cI want our operas to look and feel and sound like Houston.\u201d<\/p>\n \u201cIntelligence,\u201d which was originally scheduled to premiere in 2021 but was delayed by the pandemic, highlights neglected voices, with themes that connect to modern-day social issues.<\/p>\n<\/div>\n<\/div>\n Heggie got the idea from a docent who approached him during an event at the Smithsonian in Washington and suggested that he look into Van Lew and Bowser for his next opera.<\/p>\n \u201cI started Googling their names, and my jaw was just on the floor,\u201d he said. \u201cI had been looking for what the next story would be, and I knew it was right because I felt this fire and this shiver.\u201d<\/p>\n<\/div>\n<\/div>\n Heggie turned to Scheer, a frequent collaborator, for the libretto, and he approached Houston Grand Opera about commissioning the work, encouraged by its history of championing new music.<\/p>\n \u201cYou can\u2019t guarantee success with a new piece,\u201d he said. \u201cBut Houston is willing to give it a chance.\u201d<\/p>\n Heggie said he was given a choice early on, based on budget considerations, to feature a dance company or a chorus. He had already written operas with prominent choruses and said he thought that the seven singers of \u201cIntelligence\u201d could together sound like a chorus.<\/p>\n He thought dance would be a better fit, he said, a way to fill in some of the \u201cquestion marks in the storytelling\u201d arising from the limited records of Van Lew and Bowser\u2019s intelligence-gathering operation.<\/p>\n \u201cDancers can explore the emotional world of this \u2014 really where there aren\u2019t words but there can be movement that might give us clues,\u201d he said. He wrote a percussive score to match.<\/p>\n<\/div>\n<\/div>\n Heggie reached out to Zollar, the recipient of a MacArthur Fellowship<\/a> in 2021, who founded Urban Bush Women in 1984 as a way to elevate the stories of women in the African diaspora. She was hesitant at first \u2014 she had never directed an opera \u2014 but started to see connections between opera and dance. It helped that she was a fan of Heggie\u2019s first opera, \u201cDead Man Walking,\u201d which premiered at San Francisco Opera in 2000 and opened the Metropolitan Opera season this fall.<\/p>\n<\/div>\n<\/div>\n Heggie and Scheer visited Zollar in Tallahassee, Fla., where she teaches at Florida State University.<\/p>\n \u201cThey were really interested in the points of view that I would bring to the story, not just as a name attached,\u201d she said. \u201cAnd the dance. They definitely wanted the dance.\u201d<\/p>\n The creative team for \u201cIntelligence\u201d includes the conductor Kwam\u00e9 Ryan, the set designer Mimi Lien and the costume designer Carlos Soto.<\/p>\n In preparation for the opera, Zollar and other members of the team visited the South for research. They toured the White House of the Confederacy in Richmond, Va., visited the former site of the Van Lew mansion and walked the Richmond Slave Trail.<\/p>\n Zollar said those visits offered a \u201cspiritual grounding\u201d for the opera and a reminder that the country was still grappling with the legacy of slavery. \u201cIt\u2019s still vibrating,\u201d she said. \u201cIt\u2019s still with us in the air.\u201d<\/p>\n<\/div>\n<\/div>\n In choreographing the opera, she drew inspiration from a variety of sources, including the African writing system called Nsibidi<\/a>, as well as the Kongo cosmogram<\/a>, a symbol from the BaKongo belief system in West Central Africa.<\/p>\n<\/div>\n<\/div>\n Zollar said she wanted the dancers of Urban Bush Women to be a spiritual force in the opera; she calls them the \u201cis, was and will,\u201d referring to their ability to speak to the present, past and future. They play with notions of entanglement and secrecy, echoing the themes of the opera.<\/p>\n \u201cThey are what\u2019s whispering in your ear,\u201d she said, \u201cwhat\u2019s around us that we cannot see.\u201d<\/p>\n At the Guggenheim rehearsal, she encouraged the dancers to draw on their own influences \u2014 club dancing, jazz, Cuban music. She worked with Mikaila Ware, a member of Urban Bush Women, to refine a sequence of jumps and falls.<\/p>\n \u201cIt\u2019s so beautiful,\u201d Zollar said. \u201cCan you give me a little bit more suspension? Can you give me a little bit more air?\u201d<\/p>\n A central challenge for Zollar was adjusting to the scale of opera. She has been fine-tuning the dancers\u2019 movements so they resonate at the Brown Theater in Houston, which has more than 2,400 seats.<\/p>\n<\/div>\n<\/div>\n Having the backing of a prominent opera company, she said, allowed her to spend the time necessary to immerse herself in the work. She added she was feeling a mix of \u201csheer terror and excitement\u201d ahead of the premiere.<\/p>\n \u201cUsually, I operate on prayers, spit and gaffer\u2019s tape,\u201d she said. \u201cNow we can fully realize our vision. Now we can create something new.\u201d<\/p>\n<\/div>\n<\/div>\n