In eight performances from December 6 to 14 (at the Pop-Up Theater in Washington, DC) and December 19 to 21 (at the 2640 Space, Baltimore, MD), the IN Series presented the engaging world premiere of The Delta King’s Blues by composer Damien Geter and librettist Jarrod Lee. The IN Series of Washington, DC, noted for its updated classic opera productions, commissioned this short opera with a run time of 45 minutes. In a historically drawn story about an American music legend, the librettist Jarrod Lee explores the myth of early blues guitarist Robert Johnson who is said to have sold his soul to the devil when his pleas to God went unanswered. Johnson wants to succeed as a musician, and the devil helps him by teaching him how to play his steel-stringed guitar. In the end, he gains the respect and admiration of his friends, who earlier belittled him.
In addition to the December 14, this reviewer attended a preview workshop presented on January 26, 2025, at DC’s Martin Luther King Library. In the workshop, characters Willy and Sonny (Son) were figures out of the backstory of Johnson’s life. In the premiere performance, they are featured as musicians. Willy plays saxophone and Sonny, guitar. They mime their performances to music played by the orchestra. The story is set in a bar, making the musical performances apropos its setting.
As with the workshop, outstanding singers were employed. Tenor Albert Lee as Robert Johnson and bass-baritone Christian Simmons as the Devil made standout first performances. Baritone Marvin Wayne as Willy and soprano Melissa Wimbish (Virginia) carried over their roles from the workshop.
Geter’s complex dissonance-infused blues music is built on well-known songs by Johnson such as “Cross Roads” and “Come on in My Kitchen.” The creators were not allowed to use Johnson’s original music because it remains under copyright. As a usual strategy for showcasing the music, the workshop used piano accompaniment. The orchestra with its full variety of strings, saxophone, piano, guitar, and percussion greatly enriched the presentation of the excellent singing, incorporating blues chords as well as energetic waltz rhythms. IN Series Artistic Director Timothy Nelson served as conductor, ably keeping the sound balances in check.
To enliven this static story (there are no bar fights or steamy sex scenes), the opera was prefaced by a short performance by an old-time blues performer known as Memphis Gold.
The next IN Series program is Passion Plays, a festival of world premieres scheduled for March-April 2026.
Karren LaLonde Alenier
