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Twenty-five years ago, a new opera titled “Dead Man Walking” made its world premiere in a San Francisco Opera production. Based on the same-titled 1993 memoir by author and activist Sister Helen Prejean, it was an instant sensation — and the start of a brilliant career by composer Jake Heggie.
In the years since then, the opera has had more than 80 international productions and become the most performed contemporary opera of the 21st century. And now, a quarter century after its world premiere, “Dead Man Walking” is returning to the company that gave the opera its first performances.
Running Sept. 14-28, these performances at the War Memorial Opera House celebrate the opera’s 25th anniversary in a production conducted by Patrick Summers and featuring some of the artists who appeared in the original cast, others who have since become collaborators with Heggie on other, more recent, projects, and numerous special events in connection with the opera’s return.
Heggie, who lives in San Francisco with his husband, Curt Branom, seems almost taken aback by his own success — not just with “Dead Man Walking,” but with the dozens of new works including operas, song cycles and other pieces he’s composed in recent years. He says he’s lucky; at the time “Dead Man Walking” was commissioned, he was working in San Francisco Opera’s publicity/marketing department and was yet to be known as an accomplished composer. Today, he calls it an “astonishing full-circle moment,” and admits that he’s still a little amazed.
The first ideas for the opera came together in meetings at the War Memorial Opera House. Heggie credits the late playwright/librettist Terrence McNally, who came prepared with ideas for possible productions and advocated for Prejean’s book as source material. “Terrence had a list of 10 ideas, and the first was ‘Dead Man Walking,’” Heggie recalls. “The book was out, the movie was out, and both were successes,” he notes, “and it seemed like it made total sense on the opera stage because of the height of its emotion — and the power of music.”
“It was kind of miraculous,” he adds. “And I don’t think it could have happened anywhere but San Francisco. That’s the kind of magical place this is.”
The opera goes to the heart of questions and debates over crime and punishment, and Heggie’s score propels it forward in an eloquent, deeply moving sound world.
San Francisco Opera’s revival showcases artists from the original cast, as well as welcoming new artists, including mezzo-soprano Jamie Barton in the role of Sister Helen, the nun whose work with death row inmates inspired her memoir and became the source for the opera. Barton, a rising star and a champion of Heggie’s music, previously sang the role at The Atlanta Opera.
Heggie says that Barton, one of the stars of S.F. Opera’s recent “Pride” concert, is a brilliant and dedicated artist. He’s composed numerous pieces for her; they have performed and recorded together, and collaborated on a recital tour and performances of his recent opera, “Intelligence.”
This production also features singers from the opera’s world premiere. Mezzo-soprano Susan Graham, who sang the role of Sister Helen Prejean in the company’s 2000 performances, returns here in the role of Mrs. Patrick De Rocher. Other artists include bass-baritone Ryan McKinny, singing the role of Death Row inmate Joseph De Rocher. Patrick Summers, also a veteran of the world premiere, returns to conduct.
Twenty-five years after its premiere, Heggie has composed 10 full-length operas, including “Moby-Dick,” “Great Scott” and “It’s a Wonderful Life,” among others. He marvels when he considers their histories and the impact they have made. His success has never waned — among many awards, he’s Musical America’s 2025 Composer of the Year — and he’s quick to give credit to the city he calls home.
“It wasn’t until my early 30s that I got the job at the (S.F.) Opera,” he says. “It welcomed me. This is a city that celebrates creativity and invention and ideas.”
“It feels like such a wonderful full-circle moment,” he adds. “To be here, back in this house after all those years, it just feels miraculous.”
Contact Georgia Rowe at growe@pacbell.net
‘DEAD MAN WALKING’
Music by Jake Heggie, libretto by Terrence McNally, based on the book by Sister Helen Prejean, presented by S.F. Opera
When: Sept. 14-28
Where: War Memorial Opera House, 301 Van Ness Ave., San Francisco
Tickets: $29-$447; 415-864-3330, sfopera.com
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Georgia Rowe
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