American Jezebel: The Trial of Anne Hutchinson, a groundbreaking new opera by James Kallembach, explores one of the most consequential moments in early American history. The semi-staged concert performance in Harvard’s historic Sanders Theatre on March 1^st will combined forces of the Harvard-Radcliffe Collegium Musicum, the Radcliffe Choral Society, and the Harvard Glee Club, under the baton of Hana Cai.

American Jezebel dramatizes the 1637 trial of Anne Hutchinson, the Puritan spiritual leader whose theological dissent led to her banishment from the Massachusetts Bay Colony. Hutchinson, a midwife and lay preacher, openly challenged the colony’s rigid religious orthodoxy, drawing both devoted followers and fierce opposition—particularly from Governor John Winthrop, who saw her as a destabilizing force in the fledgling theocratic society.

With its powerful historical themes of religious freedom, gender, and authority, American Jezebel is a timely exploration of the struggle between personal conscience and institutional power. The opera also holds special significance for Harvard itself: Hutchinson’s trial played a direct role in the college’s founding, as Puritan leaders sought to educate future ministers to counteract what they saw as her dangerous influence.

A Musical and Dramatic Tapestry

Kallembach’s score masterfully blends historical sources with original composition, drawing from the Bay Psalm Book—the first book printed in North America—as well as transcripts from Hutchinson’s trial, period embroidery, and even bawdy street rhymes. The resulting work weaves together the sounds of 17^th-century New England with a fresh, dynamic musical language. The Intelligencer raved about Kallembach’s Audubon as well as Jezebel’s male lead Sumner Thomson HERE. For a flavor of some of Kallembach’s recent work, consult these following links: Most Sacred Body HERE and Antigone HERE.

The opera’s central conflict is embodied in the roles of Anne Hutchinson, performed by soprano Sarah Joyce Cooper, and Governor John Winthrop, sung by baritone Sumner Thompson. Their intense verbal and musical sparring propels the drama forward, while a rich supporting cast—including Winthrop’s wife Margaret, Hutchinson’s young protégé Mary, and her lover Tom—adds depth and nuance to the story. The production team includes Harvard alum Roxanne Myhrum as stage director, Brooke Stanton for costume design, visual projections by Kathy Whitman and Justin Lahue, and lighting design by Jeff Adelberg for lighting design.

For Kallembach, the opera’s themes resonate strongly in today’s world. “When I began this opera over a decade ago, I would never have imagined it would be as timely as it is now,” he says. “This story speaks to our present as never before in my lifetime.”

The 150 singers of the combined Harvard Choruses provide the sonic backdrop to this historical drama. Their voices form the voice of the community—sometimes condemning, sometimes supporting Hutchinson—as they bring to life the tensions and emotions of a society wrestling with its identity.

Purchase tickets for the  March 1^st premiere HERE.

Panel Discussion: Contextualizing Hutchinson’s Legacy

To deepen audience engagement with the opera’s themes, the Harvard Choruses and First Church Cambridge will co-host a virtual panel discussion, American Jezebel: The Story of Anne Hutchinson in Words and Music, on February 18, 2025. The event will feature composer James Kallembach, historian Eve LaPlante (author of American Jezebel), and Puritan scholar Francis J. Bremer (John Winthrop: America’s Forgotten Founding Father), moderated by Harvard’s Director of Choral Activities, Andrew Clark.

This discussion will explore not only Hutchinson’s impact on early American society but also the ways in which music and theatre can illuminate history. Given the opera’s setting in Boston—where Hutchinson’s trial took place—this event provides a unique opportunity for audiences to engage with the legacy of one of the city’s most controversial historical figures.

See related review HERE.

Andrew Clark is Harvard’s Director of Chorale Activities and Senior Lecturer on Music at Harvard University. He serves as the Music Director and Conductor of the Harvard-Radcliffe Collegium Musicum, the Harvard Glee Club, the Radcliffe Choral Society, the Harvard Summer Chorus, Cambridge Common Voices, and teaches courses in conducting, choral literature, and music and disability studies in the Department of Music.