Men and women have not changed much in the past several thousand years. Sand through the hourglass, sand in the desert, it all flows through and around humans, making their time on earth seem small. The story of Esther, and the triumph of the Jewish people in ancient Persia, has much to say about longevity and how necessary it is to think out of the box in order to survive.

Hugo Weisgall's modern opera "Esther" is now playing at New York City Opera (NYCO) and it is a story of truly Biblical proportions. Weisgall was initially approached in the mid-1980s by the San Francisco Opera, regarding a commission on one of the greatest heroes in the Bible-the teen queen who saved an entire race of people. And Weisgall, a member of the Second Viennese School, wrote a modern masterpiece that would not see the light of day until NYCO gave the piece its debut in 1993, San Francisco having passed on the work. It is most fortunate for NYCO to have Lauren Flanigan once again reviving the role she originated at the world premiere. Her tone is pure and clear, and even when she is horizontal, as in the scene where she's entreated Xerxes for a banquet and a favor, the glorious notes rise to heaven, from whence they've surely come.

The first scene of the opera has a figure approaching a Gravedigger (Branch Fields) as he readies the earth to receive the man and his ten misbegotten sons whose bodies may not hang any longer. A figure approaches and the Gravedigger asks who she is-the answer returns, "I am Esther." Time has wrought changes upon the young girl we go back in time to meet-youthful Esther making shapes of clouds in a beautiful garden, foxgloves and greenery projected on panels all around, when James Maddalena's Mordecai enters to share that his niece must leave him. Her joy in seeing her adopted father becomes staunch refusal that finally yields to duty, as all must obey the King, must they not? And thus Esther journeys to the harem of Xerxes.

Vashti, as sung by Beth Clayton, is napalm angry, crystal clear in plotting, regrets the loss of position and adoration for which she was raised and will do literally anything to be restored to the position of Xerxes' favorite wife. As she sings from her prison of muslin bars, the incarceration is both moral and physical, and Vashti rails against the circumstances that brought her there though, she is powerless to have made another choice. The depth of her outrage at what has happened to her, though she would not suffer through "being [Xerxes'] clown" again, sees not that that consequence was unavoidable. Handmaiden and sister in plotting and thoughts, Zeresh-Margaret Thompson in her NYCO debut-schemes her way through years of destiny for her husband and her sons. A brilliant scene is the trio in which Esther is literally elevated above one who was once queen and one who would be queen. Esther has dreamed of being queen, but is neither to the manor nor the manner born, and this is perhaps what makes her best suited for the job. The richness of the three voices together delights the senses. As Haman, Roy Cornelius Smith, also making his debut, frets and struts, also not thinking of consequence, for when one is the top vizier, the only way is up. And Haman and Zeresh are in love with one another's scheming, as much as they are with one another. Their gaggle of sons is tribute to their physical love and their scheming seems to be foreplay of a different kind.

Stephen Kechulius' Xerxes shows just how 'uneasy lies the head that wears the crown.' On the one hand, it is good to be king-Haman, his trusted advisor, is about to quell some small problem-um, genocide!- that Xerxes need not worry his head over, yet since a king's decision is immutable and cannot be renounced, he cannot un-banish his wife Vashti. Hmmm, foreshadowing of the decree damning Esther's people. At first it seems Xerxes misses Vashti, and Kechulius laments constantly from the couch from which his overall depression hardly permits him to lift his head. Yet, it is not Vashti so much as a companion Xerxes longs for, as we see from his reaction to Esther (Ishtar!), when first they meet, thanks to the wiles of Hegai, the Keeper of the Harem, well played by countertenor Gerald Thompson. The texture of the voices, dramatic soprano, the riches of two mezzos, baritones, tenors and countertenors, oh my! The visual feast in the harem and the delightful and typically teen vacillation between bravado and lack of self confidence Esther shows when discussing with her fellow habitues-"Did any Queen have more..."-displays a much more complex psychological tapestry, which one might expect more from drama than opera.

Texture in voice and interplay with orchestra, combined with the richness of the full chorus and associate chorus that blesses NYCO, means that there is always a cast of thousands. Choristers are the people of Xerxes' kingdom in the opening, gazing at the bodies of Haman and sons while Esther ponders. Choristers are the hopeless sons of Judah, dragged from their homeland, not only to slavery, but now also to slaughter on the 13th day of the month of Adar. Choristers flow like a wave, with as much grace, around Esther as Mordecai bends her will to the recognition of her destiny, when she realizes it is in her hands to save her people and smite the wicked. And Esther's external monologue has much to say to modern audiences. Charles F. Prestinari, with assistants Nicholas Fox and Sharon Bjorndahl Lavery, who is also the Children's Chorus Director, added so much to this production, since choristers are also scene partners here.

Conductor George Manahan leads the orchestra in a score that would do justice to a film, modern and strident, dis-chords showing discord in the minds and words of the characters. Sometimes the orchestra reflects the inner turmoil of the words being sung, playing in and around like echoes and pre-echoes, swirling like thoughts in a stream-of-consciousness whirlwind, and at other times, it underlines the gravity of what is happening. Set designer Jerome Sirlin provides a series of moving panels and moving images that sometimes seem to stalk like demons through different scenes. Joseph A. Citarella's costumes read from Vashti's gilt edged black gown with purple surplice, reminiscent of an evil Disney Queen, to the gracefully flowing gown and wrap Esther wears in one color, as a naïve virgin, and in a rich teal, as she comes into the maturity of her love and power, to Haman and Zeresh and sons dressed in green and gold, the colors of money. Xerxes resplendent in different kinds of gold, and Mordecai dressed simply, save at the end when even his bling is sober. Mmmm, delicious!

Esther's struggles with identity and assimilation also mirror the struggles of many in our community in the fight for marriage equality, so recently and disappointingly voted down in California and Maine. Watching "Esther," it is possible to know that, when your passion and what is right align, then setbacks, which seem like a coup de grace, are only the beginning of engagement. Xerxes can see no way around the unjust slaughter of Esther and her people, until Esther shows his power can arm her people so they may protect themselves. As it was, so it shall be-think out of the box and the power becomes yours.
"Esther" plays through this month-November 13, 17 and 19 at 8 p.m and November 15 at 1:30 p.m. Locusts return more often than we get to hear this magnificent opera. The story itself is what's behind Purim, the import of action is timeless. Visit www.NYCOpera.com to buy tickets or for more information.