Review: Omar at Lyric Opera of Chicago gives voice to an enslaved Muslim scholar

The Lyric Opera of Chicago recently brought to life Omar, a compelling opera that revisits the story of Omar ibn Said, a 19th-century West African Muslim scholar enslaved in the United States. Co-created by Rhiannon Giddens and Michael Abels, the work delves into the rarely told narrative of Said, who remains the only enslaved person in America known to have penned an autobiography in Arabic.

Omar’s origins trace back to a collaborative commission involving seven institutions, including Lyric Opera and Spoleto Festival USA, where the opera premiered in 2022. The production has since been presented by notable companies such as LA Opera, Boston Lyric Opera, and San Francisco Opera, reflecting its growing recognition. In 2023, Giddens and Abels' work on Omar was honored with the Pulitzer Prize for Music, underscoring the opera’s cultural and artistic impact.

The libretto, crafted by Giddens, draws heavily on Ala Alryyes’s scholarly work, "A Muslim American Slave: The Life of Omar ibn Said," providing a foundation that interweaves Said’s own voice with the experiences of other enslaved individuals. The score is a mosaic of diverse musical traditions, blending African percussion, spirituals, waltzes, and even bluegrass, encapsulating the multifaceted identities and histories the opera seeks to explore.

The narrative begins in Futa Toro, present-day Senegal, where Said’s early life unfolds alongside his family. The opera chronicles his forced capture during a village raid, the traumatic Middle Passage, and his sale at the Charleston Slave Market. Throughout these sequences, the production unflinchingly portrays the brutal realities of the transatlantic slave trade and the dehumanizing conditions endured.

Said’s journey continues on a South Carolina plantation, where he endures violence before attempting escape. His subsequent capture in North Carolina introduces a turning point: his ability to write Arabic intrigues local inhabitants, leading to his purchase by a plantation owner intent on converting and educating him. This complex relationship highlights tensions between cultural identity, faith, and survival under bondage.

Director Kaneza Schaal’s vision adopts a semi-staged oratorio approach, intentionally emphasizing the performers’ roles as interpreters rather than fully embodied characters. This choice, coupled with symbolic costuming—featuring indigo garments nodding to the historical significance of the crop—and visual elements such as fabric printed with Said’s Arabic script, creates a layered commentary on memory, identity, and historical representation.

Key design elements include a central fabric tree set piece symbolizing Said’s forced transplantation and rootlessness, alongside projections displaying his writings and prayers. The chorus occupies a constant presence, alternating between observers and participants, often embodying various roles that underscore communal and historical voices.

The cast delivers strong performances, with tenor Issachah Savage portraying Said’s spiritual and emotional journey through a clear, resonant voice. Soprano Kearstin Piper Brown’s portrayal of Julie, an enslaved woman who aids Said, was particularly noted for its emotional depth and audience acclaim. The ensemble’s dual-role work enriches the narrative texture, supported by Kazem Abdullah’s conducting and Michael Black’s chorus direction.

Despite its artistic success and critical recognition, Omar’s run at the Lyric Opera was notably brief, reflecting potential challenges in audience reception given the opera’s unflinching subject matter. Nevertheless, the production’s commitment to illuminating a complex and often overlooked chapter of American history offers valuable insight into the enduring legacies of slavery and faith.

Omar serves not only as a historical recount but as a vital act of remembrance. By bringing Omar ibn Said’s story to contemporary stages, Giddens, Abels, and the Lyric Opera contribute to a broader cultural dialogue about identity, resilience, and the power of storytelling to reclaim silenced histories.