What separates a musical from an opera? Technically an opera is a story in which all the dialogue is exchanged through song. Hence the term rock opera, which describes modern musicals that have little to no spoken dialogue. Such semantics may seem trivial, but as the world moves forward traditional opera must too in order to thrive.

“Dead Man Walking” is by no means a new work, as it had its world premiere at the San Francisco Opera in 1999. It’s composed by Jake Heggie with a book by Tony Award winning playwright Terrence McNally. It is an adaptation of the 1995 film for which Susan Sarandon won an Academy Award for Best Actress. Based on the true story of Sister Helen Prejean’s special relationship with two death row inmates in Louisiana, “Dead Man Walking” is an excellent example of what the future of opera theatre might look like.

“Dead Man Walking” holds its Chicago premiere at the Lyric under the direction of Leonard Foglia. What is immediately striking is a scene of graphic sexual violence right off the bat. A stark departure from the usual 19th Century fantasies normally produced on the Lyric stage. Though the English subtitles are much appreciated, they’re somewhat unnecessary as this opera is sung in English.

Heggie’s music shares a lot in common with traditional musical theatre. The consistent through-line melody “He Will Gather Us Around” will have you humming into intermission and wiping your eyes by the finale. While Heggie’s compositions are quite good, and very cinematic in their aesthetic, it is the deeply humane storyline of condemned prisoner Joseph De Rocher that will hold your attention. McNally does what he does best, sharp dialogue and tight narrative structure.

It’s not often to hear sniffles during the climax of a traditional opera. No matter how arresting the score, or brilliant the performances, classical opera can sometimes create an emotional disconnect. In this work, we see modern day reality and that feels more relatable than say, Wagner. That’s not to say it’s missing the spectacle. As the case with any Lyric production, the staging is epic and visually stunning.

Though most of the cast is making their Lyric debut, they leave a big impression. Joe De Rocher is sung by Ryan McKinny. A booming voice fitting of an unrepentant killer and he’s able to sing opera in a southern accent. Patricia Racette portrays Sister Helen Prejean. It’s her journey we are on. She knows as well as the audience that De Rocher is guilty, but like her, we hold the slimmest hope that maybe he’s innocent. Her unwavering love for De Rocher is his redemption. It’s her power as an actress and a singer to evoke the spirit of forgiveness. Even as McNally’s dialogue is stretched into soaring arias, there’s an authenticity in Racette’s performance.

“Dead Man Walking” achieves what good opera should, and that is to move its audience through the power of music. Theatre, regardless of the type should comment on the world in which we live. While the classics are so for a reason, they’re becoming less of a draw for younger audiences. “Dead Man Walking” proves that opera isn’t a dying art form. It’s an invitation for audiences to have post-show discussions about real world issues.

Through November 22nd at Lyric Opera Chicago. 20 N Wacker Drive. 312-827-5600