The oratorio “The River May Cry” was commissioned for the opening of the Ogden Museum of Southern Art in August 2003.

Although referred to in the liner notes as both an oratorio and an opera, “The River May Cry” is really a theater piece for soloist, chorus and orchestra. The choir is directed by Reverend Lois Dejean with New Orleanian Phillip Manuel as vocalist.

Consisting of eight movements, the piece follows an eclectic format with one theme present throughout. The theme, which I call “the River theme,” is reminiscent of Janacek’s 1926 opening theme of his “Sinfonietta.” While not an exact quote, it is powerful and imposing and feels similar.

The first movement, “The Awakening,” is full of wonderful orchestral color; a bass line with shimmering strings over woodwinds and soft brass, with “the River theme” being introduced. This brings us to Stravinsky-style rhythms with staccato strings that sway with punctuated timpani. This resolves into the first chorus, “Hallelujah,” which reminds me of Bernstein’s Mass. The “Aftermath” opens with Renard Poché’s squealing guitar over an orchestra interrupted with percussion (whips, bells, triangle). The theme reappears, with timpani culminating in “The Plea”—“Send us a river” sung by Manuel. Manuel’s rich baritone works well, with the chorus in response. “Baptism” follows, giving us a blues-tinged violin solo over a steady beat that concludes with an expressive oboe solo and the full orchestra bringing back a variation of the theme. Poché’s guitar returns to open “The Answer” with the chorus responding “Many rivers I’ve cried / My tears, salt brought life” while the river theme continues to unite the composition. The concluding movement, “The River,” is striking for its use of a steady beat that brings the flowing theme into full current. The theme is woven into the movement with the ending solo violin passage offering wisps of the theme, as if contemplating the new river and the promise it holds.

The CD concludes with “Dig This!,” a three movement piano concerto. Weigel attempts to integrate the New Orleans piano tradition, “inherited from Professor Longhair, Allen Toussaint, Dr. John and Jon Cleary” into a concerto format. It’s another wonderful piece, full of color, but I just don’t get the connections to New Orleans piano tradition. Weigel explains that the connection is felt in the “phrasing and articulation.” Nevertheless, this energetic and enthusiastic concerto showcases Weigel’s unique voice and talent.

The orchestra members for “The River May Cry” showcases many of New Orleans’ finest musicians, including Mark Mullins, Charlie Miller, Tony Dagradi, Rebecca Barry, Jason Mingledorff, Eric Traub, Steve Sutter and John Mahoney.
Weigel’s musical style is engaging and accessible, with an edge that keeps the listener off balance, not sensing what will come next. “The River May Cry” incorporates different genres of music without resorting to clichés. I wouldn’t miss the expanded staged performance scheduled for the Contemporary Arts Center on February 18 and 19.