The world premiere of Minoru Miki's The Tale of Genji at Opera Theater of St. Louis

In 1956 a review of the George Stevens film Giant, taking note of its three hour and twenty minute length and leisurely pacing, commented that it was "not for the restless". I was reminded of this after the first act of the Minoru Miki's new opera The Tale of Genji, on stage this week at the Opera Theatre of St. Louis. Both Giant and The Tale of Genji are based on long, episodic novels; both tend to move at a pace that can best be described as "stately"; and both clock in at around 200 minutes. The Tale of Genji, however, offers a more compact story and greater emotional depth.

Set around 1000 AD, the opera follows the romantic exploits of Genji, the favorite son of the Emperor of Japan and the Emperor's favorite concubine. Unable to inherit the throne because of his quasi-official status and deprived of his mother at birth, the handsome and charismatic Genji spends his time seducing and abandoning a series of women in a futile quest for the motherly love he lacked as a child. Over the years, his selfish indifference to the effects he has on the lives of his conquests eventually leads to their destruction and his own remorse and isolation, even as he attains the pinnacle of his career as counselor to the new boy Emperor - who, in a final ironic twist, is Genji's own son.

The characters change very little in the course of the opera - Genji, for example, remains oblivious to the damage he causes until the final scene - but Colin Graham's libretto makes those characters so psychologically complex that the lack of movement doesn't matter much. Miki's music - skillfully presented by the OTSL orchestra under Steuart Bedford - supports Graham's work with a remarkably effective mix of contemporary Western and traditional Japanese elements, including virtuoso performances on Japanese instruments by Yang Jing and Reiko Kimura.

The Tale of Genji also benefits from strong performances by the entire cast, especially baritone Mel Ulrich - who was stunning in last years rather misguided Pearl Fishers - in the title role and soprano Cheryl Evans making her OTSL debut in the dual role of Rokujo and Akashi. Also impressive were soprano Elisabeth Comeaux as Genji's two great loves, Fujitsubo and Murasaki, and mezzo Josepha Gayer as both Murasaki's guardian Shonagon and the vengeful Kokiden - who reminded of a somewhat nastier version of Katisha from The Mikado.

Designer Setsu Asakura decks the story out in colorful sets and costumes that call to mind classic Japanese prints and are complimented by Christopher Akerlind's atmospheric lighting. The Tale of Genji has, in short, been given a first-class production by Opera Theatre. Granted, you may find the stylized, kabuki-influenced staging and the slow pace of the first act a bit daunting - I know I did - but by the final scene of Genji's triumph and despair I think you'll appreciate this fascinating journey to a distant time and place at once similar to and completely different from our own.

The Tale of Genji continues through this Sunday at Opera Theatre of St. Louis. Call 314-961-0644 for tickets.

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