Met Opera’s Season Opener 'Grounded': A Gripping Tale of War, Motherhood, and the Human Cost of Technology

On a crisp autumn evening, the Metropolitan Opera (Met) commenced its 141st season, a tradition dating back to its very first performance of “Faust” in 1883. This time, the spotlight shone on “Grounded,” a thought-provoking opera by Jeanine Tesori and George Brant that touches on themes of sacrifice, war, and the moral dilemmas faced by modern warriors.

The story revolves around Jess, a talented fighter pilot whose life takes a sharp turn when she falls in love with a rancher during a leave in Wyoming. As she navigates her new life as a mother, Jess is pulled from the skies, forsaking her once-thrilling combat missions in the Middle East. Her yearning for freedom and adventure transforms into a haunting longing for her old life, now replaced by the responsibilities of family.

However, the U.S. military has other plans for her. Instead of soaring above the clouds, Jess is assigned to operate a Reaper drone from thousands of miles away, a job that lacks the glamour of an aerial fighter but offers her the opportunity to return home to her child each night. “The threat of death has been removed,” she is assured, but it quickly becomes apparent that her new role comes with its own profound psychological burdens.

As Jess now watches through the drone’s unyielding camera, the devastating consequences of remote warfare come starkly to life. The juxtaposition of her personal and professional worlds creates a suffocating environment that ultimately spirals out of control.

Originally a one-woman play that premiered Off-Broadway with Anne Hathaway, “Grounded” underwent significant transformation for its opera adaptation. The collaboration between Tesori, known for her Tony-winning work on “Fun Home,” and Brant sought to expand Jess's narrative, adding depth with a full cast and chorus. This season’s rendition has seen a condensed format, trimming unnecessary elements but still struggling with the density of character development.

While mezzo-soprano Emily D’Angelo shines in her portrayal of Jess, bringing a sense of urgency and emotional depth to the role, other characters like her husband Eric and her military Commander feel notably underdeveloped. The complexity of their relationships could benefit from deeper exploration, which remains somewhat lacking.

The production, directed by Michael Mayer, artfully combines realistic staging with bold LED projections, creating an immersive experience. Yet, while the visual components captivate, the opera struggles with inconsistency in musical storytelling. Though Tesori exhibits her hallmark stylistic versatility—with shifts from vibrant melodies to dissonant undertones—the score occasionally feels flat, lacking the emotional vibrancy that characterized her Broadway successes.

Set against an evocative backdrop that includes moments of both humor and horror, “Grounded” wrestles with Jess’s internal conflict. From a comedic ode to a mall’s cinnamon roll chain to the chilling reality of drone warfare, the opera attempts to offer poignant commentary on the state of modern combat. However, it often tiptoes around the raw emotionality needed to convey the full weight of Jess's descent.

The climax of the piece, where Jess’s moral conflict crescendos as she decides to crash her drone rather than engage in collateral damage, feels abrupt and lacks the tension needed for a powerful resolution. The aftermath of her court-martial appears muted, leaving audiences yearning for a more impactful finale.

Through October 19, “Grounded” at the Metropolitan Opera invites its audience to confront the heavy themes of choice, consequence, and the gray areas of moral compromise. While the production showcases the immense talent behind it, one can't help but wonder if it could reach greater heights with bolder storytelling and a deeper dive into its characters' psyches. As the Met kicks off its season, operatic enthusiasts and newcomers alike will be intrigued to witness this powerful narrative unfold on stage.