Boston Lyric Opera Delivered a Soul-Stirring "She Was There" Day Two Concert
Review
Inspired by the well-known African American spiritual “Were You There” (published in 1899), Boston Lyric Opera’s She Was There was a two-day event that explored the often-overlooked voices of Black revolutionary women throughout American history. The program integrated various forms of media, ranging from film and dialogue to orchestral works and poetry. I attended the day-two concert at Boston’s historic African Meeting House. Built in 1806, it is considered the oldest extant Black church building in America. She Was There was presented in partnership with Boston Lyric Opera, Castle of Our Skins, Everyone250, MA250, the Museum of African American History, the Roxbury International Film Festival, and the West End Museum.
Day two began with a pre-concert reception featuring performances by two young artists, Nathaniel Codio and Harmoney Gomes. It was a touching start to what would become an exceptional evening—one that paid homage to the enduring legacy of Black artists studying and preserving the operatic tradition.
Following the reception, guests were ushered upstairs into the centuries-old sanctuary. Immediately upon entering, one could sense the profound history embedded in the space. The performance was structured into four distinct thematic parts: Home, Mother and Child, Love of Self and Family, and World-Building. Through these movements, the artists took guests on a spiritual journey straight to the heart of the African American experience during the nation’s infancy.
Featuring works by Black women, the program was guided by writer and speaker Lenelle Moise, who lent her original writing to the production. From poems celebrating Elizabeth Freeman—one of the first enslaved Africans to successfully file and win a freedom suit in Massachusetts—to a rousing piece about Phillis Wheatley, widely recognized as the first African American to publish a book of poetry, Moise’s command of language and movement was evident. One stanza I found myself meditating on was from "Phillis Wheatley." Speaking from Wheatley's perspective, Moise orated the line, "possibilities I can't yet shout," beautifully capturing the paradox of a woman who was an exceptional master of the written word, yet unable to freely speak her mind or dictate her own future. Though she was later emancipated by the Wheatley family, the poem powerfully captures the weight of her time enslaved.
Interwoven throughout the evening were orchestral selections that featured violinists Matthew Vera and Paola Caballero, violist Ashleigh Gordon, and cellist Jing Li. Together, these skilled artists brought the works of Shelley Washington, Florence B. Price, and Mason Bynes to life with virtuosic precision. Their performance of Price’s String Quartet in G Major boasted gorgeous phrasing throughout and served as a beautiful meditation following Moise’s Phillis Wheatley poem — a true sequencing highlight.
The evening also centered vocal selections by soprano Kearstin Piper Brown. At the start of the night, Brown sang from the upper galleries of the space, delivering a dynamic rendition of Jessie Montgomery’s I Want to Go Home, and later Julie’s Aria by Rhiannon Giddens — a piece I haven’t heard since its Boston premiere. While Brown masterfully executed a number of pieces, it was her performance of Undine Smith Moore’s Watch and Pray that moved me to tears. A spiritual about sustaining hope in the face of unthinkable hardship. Accompanied by pianist Eliko Akahori, Brown gave a soul-stirring performance rich in dynamic phrasing and deep resonance, which was perfectly matched by Akahori’s tender playing. Watching Brown felt akin to witnessing a young Kathleen Battle; her vivid vocal storytelling and effortless upper register brought the entire room—and the ultimate purpose of the evening—into sharp focus.
By the end of She Was There, as the artists slowly made their way out of the space one by one—playing Price’s I Am Bound for the Kingdom while Brown’s voice descanted above like an angelic chorus—the audience was left in a state of profound reflection. I found myself meditating on the immense beauty, breadth, and skill Black women have historically possessed, alongside the sheer strength, courage, and resilience required to endure what this nation has done—and continues to do—to them. Ultimately, I left with a deep appreciation for Boston Lyric Opera’s boldness in telling this story, especially during a cultural moment when the most powerful forces in America seem intent on forgetting. This performance was easily the most resonant and defining America250 celebration to date — just in time for Juneteenth.
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