In his conception of Bram Stoker’s character of Dracula as the second coming of Dionysus, librettist Mark Adamo mines a hitherto academic stance connecting the ancient Greek god of wine to the most penetrating supernatural creature born from the fertile end-of-century Gothic imagination, and presents a libretto grounded in poetic repetition. Nonetheless, the drama on the horizon paled in comparison to the mesmerizing spectacle on stage. Lightning flashed in the distance at moments during the Santa Fe Opera’s world premiere of The Lord of Cries on July 17, an appropriate reminder of nature’s force, not to mention Dionysus’ opening lines in Euripides’ Bacchae.
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