Intelligence; music by Jake Heggie, libretto by Gene Scheer, is, on the face of it, a spy thriller. We are in Richmond in 1865 and Union forces are closing in on the Southern capital. Elizabeth Van Lew is a wealthy spinster who is spying for the North. She infiltrates her enslaved woman Mary Jane Bowser into the Jefferson Davis household but Mary Jane is not what she appears. She is highly intelligent, literate and has a photographic memory. No-one will think to hide sensitive information from a, presumed illiterate, slave. The relationship between the two women is complex. Mary Jane was born in Elizabeth’s father’s home but was baptised in the white church and educated in the north. She has been told that her mother died in childbirth. But all is not as it seems.

The main parts of the spy plot pay out in Act 1. A Confederate goon; Travis Briggs, is trying to establish that Elizabeth is a spy while having an affair with her sister; Callie, who also lives in the same household. He also has his eye on Mary Jane. meanwhile she has formed a relationship with the Davis’ butler Henry, despite already being married. With Travis hot on her heels, Elizabeth buries her secret journal but is seen by Callie. At the same time, Mary Jane is being visited by the disturbingly knowledgeable Lucinda who no-one else seems able to see, as well as a collection of ancestral spirits. The act ends with Mary Jane setting a fire in the Davis household to cover Henry’s escape during which she thinks she sees Lucinda consumed in the flames.

In Act 2 the focus shifts to Mary Jane’s story. The espionage plot raps up when Travis is killed; though not before he’s tried to rape Mary Jane. Mary Jane now has the secret journal and begins to realise who she really is. Lucinda too reveals her real identity. All this comes out as a slow burn and I’m not going to spoil it. It’s a compelling story and also an effective polemic against slavery, which is pretty timely given current attempts to whitewash it in Trumpistan. One thing that’s clear reading the libretto, and listening to how much dance music there is, is that this was a very visual production with heavy use of dance. It’s a pity this is not a video recording but so it goes. So, contrary to my usual practice with audio reviews, I have included some production stills.

It’s an extremely well crafted opera. The libretto is cleverly constructed to retain a high degree of suspense and tension. The music is colourful and rhythmically complex. It’s often fairrly abrasive but it also has some gorgeous lyrical passages and there are proper arias and duets. They aren’t “show off” pieces but they are moments of repose where characters get to express their feelings.

It was a commission for Houston Grand Opera and premiered there in 2023 when this audio recording was made. The singing and acting is excellent. Janai Brugger is excellent as the complex character Mary Jane. There’s an excellent chance to see what she can do in the Act 1 aria “Just one step” with its African rhythms and “mysterious” orchestration. She’s well matched by Jamie Barton as Elizabeth. Her aria in the third scene, “Look me in the eye” is the first real hint that not all is as it seems between the two women. And then there’s the wonderful J’nai Bridges as Lucinda. She sings beautifully and really conveys a sense of “otherness”. Caitlin Lynch rounds out the ladies as a perfectly acceptable Callie.

Michael Mayes really gets into the character of Travis. He’s a snarling, brutal, piece of work and is very effective. Joshua Blue plays Mary Jane’s simple but brave and loyal husband Wilson. He has a gorgeous lyrical tenor. Then there’s Nicholas Newton as the butler Henry. He does an excellent job of portraying a man who is infatuated with Mary Jane but has no idea how far out of his depth he is.

This is a really rich score and the Houston orchestra makes the most of it with crisp direction from Kwamé Ryan. The dancers, though we can’t see them, are the Urban Bush Women and one feels that their contribution to the overall impact of the show must have been huge.

It’s an SACD release and it’s superb. Despite being recorded live, the balance is just fine with no drop outs and a rock solid sound stage. The detail and immediacy are most impressive; especially the first couple of minutes of each act where it’s hard to believe it’s a recording. I listened mostly on headphones but I did sample the multi track via surround sound speakers. Both versions are stunning. It’s also available as lossless digital in 192kHz/24bit, 96kHz/24bit and 44.1kHz/16bit resolutions and as MP3. If you have the gear to play SACD though I’d strongly recommend it. There’s an excellent booklet.

My only reservation with his release is that its audio only. A Blu-ray could have been fantastic. That said this is a very fine recording of an exciting contemporary opera.

Catalogue information: Houston Grand Opera HGO 0001