By Chris Nafekh, Staff Writer

Published in print Apr. 22, 2015

Last Wednesday, the UNC-Greensboro Theatre presented the opera “Galileo Galilei” as part of the school’s “The Globe and the Cosmos” series, celebrating the 450th birthdays of Galileo and Shakespeare.

The opera was performed several times over the past weekend, exhibiting the diverse talents of many university faculty and students.

Mary Zimmerman wrote the libretto as the original director. Philip Glass, a prolific composer of minimalist style, wrote the music for “Galileo Galilei.” Glass has composed for symphonies and cinema soundtracks alike, and has collaborated with several well-accomplished artists such as Paul Simon, Yo-Yo Ma and others.

Glass visited UNCG on Apr. 14 for a piano-violin recital. Accompanying him onstage was his friend and musical cohort, Timothy Fain.

The story of “Galileo Galilei” travels backwards through the life of a great man, for whom the play is entitled. Galileo famously endorsed the heliocentric theory— that the sun is the center of the universe.

Copernicus originally proposed this fact, and when Galileo reintroduced the theory, the church chastised him for proposing science that was inconsistent with biblical interpretations. Throughout the opera, one can hear clashing themes of religion and science.

The story is based around historical documents from the life and times of Galileo, including letters from his daughter, as well as from Pope Urban VIII.

The opera originally premiered in 2002 at Chicago’s Goodman Theatre and has since been performed by the Madison and Portland Operas in 2012. The production held Thursday night at Aycock Auditorium was professionally performed and comparable to the past productions of this opera.

As the lights dimmed, a dull hush drifted over the audience. On the stage sat an old, blind Galileo played by Derek Jackenheimer. As his voice bellowed through the auditorium, uplifting harmonies and dissonance introduced the inventor’s life story. 

Glass’s avant-garde minimalism carried the audience through the troubles and triumphs of Galileo’s life, holding them captive, pushing their ears to listen closely and feel.

When Deon’te Goodman entered stage as Pope Urban VIII, his voice rumbled with royal prestige— a rich sound fitting only for a king.

A burgundy stairwell rotated around a golden set, reminiscent of Renaissance architecture.

The costume design by Trent Pcenicni displayed the authentic style of 16th century clothing.

When the cardinals entered the trial of the hero, Galileo, their red dress coupled with a foggy atmosphere gave a corrupt appearance as they historically forced Galileo to retract his true scientific theories.

At times, the celestial lighting threw old Galileo into the heavens as he contemplated the link between God and science.

David Holley, a longtime UNCG faculty member and stage director of “Galileo Galilei,” showed once again the talent and musical skills present at this university.

Thursday night’s performance was remarkable, in part because of Philip Glass’s composition.

But it takes a special talent to bring the composition to life in the way it was this past week.