The opera based on the stunning and heartbreaking story of boxer Emile Griffith

“In ‘Champion’ we see how Blackness, boxing and manhood can unexpectedly, and eloquently, be expressed in the expansive genre of opera.” This observation by Professor Naomi André, in a splendid program essay, highlights what a marvelous achievement Lyric Opera of Chicago’s latest opera is when it comes to new opera.

“Champion,” by composer Terrence Blanchard with libretto by Michael Cristofer, was co-commissioned by Opera Theatre of St. Louis and Jazz St Louis and premiered in 2013. A new production by Lyric Opera of Chicago, co-commissioned by the Met, is a welcome way to bring this opera to Chicago for the first time. It opened Sat., Jan. 27 at the Lyric Opera House.

It is the story of boxer Emile Griffith (1938–2013), who in 1962 pummeled another boxer in the ring leading to a coma with death following 10 days later. Emile is haunted by this, as well as his bisexuality, and ultimately the dementia that settles upon him in old age. Cristofer’s beautiful libretto includes three Emile characters: Little Emile (a child); Young Emile (the boxer); and Emile Griffith (old Emile, who in the opera we see before the other two).

His story unfolds clearly but not always chronologically, and we meet Emile throughout his life as well as the busload of oddballs and mean folks that shape his destiny. This opera takes us on a journey of guilt and remorse but one also of hope, resilience and forgiveness.

Justin Austin as Young Emile delivers a knock-out punch with the opera’s signature aria, “What Makes a Man a Man?” juxtaposing his vulnerable side with his professional physical aggression in stunning fashion. Reginald Smith, Jr. as older Emile shows us how a life of self-punishment slowly turned to one of inner reflection and peace suffused with a gentle dignity.

Martin Luther Clark is a soothing presence as older Emile’s caretaker and adopted son. Sankara Harouna filled in for Leroy Davis at short notice, and was superb in the dual role of Benny “Kid” Paret (who dies from Emile’s punches) and his son, Benny Jr. Whitney Morrison is a hoot as Emile’s mother, who abandoned her children;when her son finds her, she mistakes him for another child. Her humor is strong as is her general presence.

There are many great singers in smaller roles, including the marvelous Meredith Arwady with her low, earthy sound a joy; and Naya Rosalie James as Emile as a child.

Enrique Mazzola leads the Lyric Opera Orchestra in the pit with flair and a fast-pace, with an eye to singers, who are comforted but never smothered in sound. The chorus is solid as well as entertaining and the dancers add a delightful atmospheric element.

James Robinson’s staging was first rate and he keeps the story moving. Sets by Allen Moyer have both intimate surroundings and big city skylines. Costumes by Montana Levi Blanco are engaging and helped to place you in time.

This is a first-rate production of a fascinating story and well-constructed opera. It would be a shame to miss it.