By Steve Feeney
Portland Press Herald
July 30, 2022

A sizable crowd risked a fearful journey through the imagination of Edgar Allen Poe on
Wednesday night as they came out to attend a performance of “The Fall of the House of
Usher,” a chamber opera by Philip Glass, performed at the Westbrook Performing Arts
Center.

Presented by Opera Maine’s Studio Artists program for young professionals, the 1988 work
attempts to musically update, with a libretto by Arthur Yorinks, the mystery and menace
found in the prose of Poe’s Gothic short story of the same title about a historic family in
horrific decline.

The 1839 story has been subject to many interpretations over the years and Glass, Yorinks
and, in turn, Opera Maine director Richard Gammon have chosen to develop more overtly
some avenues of understanding that were only hinted at in the great author’s original work.
Let’s say, some desires are made a little less ambiguous.

As the basic story goes, a man named William is summoned by his old friend Roderick
Usher, a recluse who appears to be in physical and mental distress, to a decaying mansion
where Roderick and his twin sister, Madeline, reside. Madeline, also seemingly suffering from
an undiagnosed illness, appears to pass away and the two men bury her with solemnity. But
Madeline’s not quite done yet and returns for a spooky finale.

Though brief moments of a gentler lyricism flash by, the mostly stress-infused vocal
performances were uniformly compelling on opening night (the first of only two
performances). Baritone Marcel Sokalski is a quizzical and confused William who eventually
discovers his own intentions to be doubly complicated. Tenor Joseph Tancredi is a harddrinking, gloom-laden Roderick who’s lost in contemplation of the dire state of the Usher

lineage and his own identity. Soprano Gabrielle Clutter is a dangerously alluring Madeline.
Her wordless vocals haunt the men on the minimal set that very significantly features a bed.
The endlessly pulsing, slow developing music of Glass sets an ominous mood that only
intensifies as dark, portentous motives emerge from the 12-member orchestra, directed by
Jackson McKinnon, that is seated below the lip of the stage. Though some seem to remain
forever immune to its charms, the instrumental music of Glass here enhances the onstage
action immensely and is an all-too-rare treat to hear in Maine.

Though sung in English, the production features supertitles as well as stylized video and still
images of the performers, designed by SeifAllah Salotto-Cristobal, in various exterior, treelined locations.
Miguel Pedroza and Joseph Sacchi took minor roles, with Sacchi briefly unleashing a really
big voice.

Poe purists may quibble. But this Opera Maine production still gets at the author’s way of
providing a sort of transfixing discomfort. Match that with an opportunity to hear well-played
and well-sung live music by Philip Glass, and you’ve got the makings of an engrossing 90
minutes at the opera.

Steve Feeney is a freelance writer who lives in Portland.