Susannah , Carlisle Floyd’s American verismo operatic update of the story of Susanna and the Elders, the Apocryphal tale of a woman falsely accused of adultery by her would-be seducers, received its world premiere in Florida in 1955 and local premiere, at the New York City Opera, the following year. Phyllis Curtin created the title role in both premieres and was, notably, joined by Norman Treigle as her co-star in the local one. Dicapo Opera Theatre celebrates the opera’s 50^th anniversary by closing its season this month with a double-cast run of performances of the work about a pretty, vibrant young woman, who unwittingly becomes the center of scandal in a narrow-minded, hypocritical town. The opening night hearing, on April 21, is the subject of this review.

As guided by Michael Capasso, the company’s General Director, Laura Pedersen convincingly conveys Susannah’s transformation from spirited and unspoiled to hurt and weary, little comprehending what she might have done to offend, and, finally, to bitter and vindictive when wronged. In the rhapsodic “Ain’t it a pretty night?” Pedersen displays a lush high lyric soprano while gazing at the starry sky. She is the picture of innocence violated, clutching a teddy bear, as she sings her sad ballad of the “ false-hearted lover,” “The trees on the mountains are cold and bare,” and rounds out her distinguished effort with a full-throated prayer, “O Lord, I never meant him to do it!” when her brother seeks out her nemesis, shotgun in hand.

Matthew Lau’s Olin Blitch, the preacher who has come to New Hope Valley, Tennessee, to save souls, is immediately drawn to Susannah when he sees her at the square dance, in the first scene. Though lacking an easy high range, Lau makes a strong-voiced Reverend Blitch, expansively zealous, a fire in his eyes, as he holds forth about sin and salvation; craven and pathetic, making his sexual entreaty to Susannah; and haunted when he prays for forgiveness after seducing her.

Pedersen and tenor Coke Morgan, an earthy, lyrical Sam, Susannah’s brother, suggest they have an innocently affectionate relationship, as they sing their folksy “Jaybird” song. Their idyllic world soon shatters when the self-righteous elders of the town and church, played by Robert Garner, Michael Scott, Jack Anderson White and Robert Zimmerman, spy Susannah bathing naked in a creek and, leering, keep eyes riveted on her as they condemn her for the “shameful” sin of “exposin’ herself in plain view.” They and Jamara Kellerman, Monique Pelletier, Stephanie Rodousakis and Anna Noggle, as their no-less-small-and-foul-minded wives, comprise a strikingly icy, frightening crew. Robert Hoyt, as Little Bat, son of the most unforgiving bullies among them, is every bit as clumsy and childish as he should be and gets more than just the usual slap from Susannah for his lies.

Kudos to the ensemble for fervent hymn singing and final “Git out’n the valley, Susannah,” when they galvanize into a lynch mob; to the orchestra, forcefully led by Steven Osgood; and to John Farrell, Angela Huff and Susan Roth for evocative sets, costumes and lighting respectively.

Laura Pedersen as Susannah, photo courtesy of Dicapo Opera Theatre.

On tap for Dicapo’s next season are Franz Lehár’s Merry Widow (October 5-15), Giacomo Puccini’s Le Villi and Messa di Gloria (January 12-14, 2007) and Manon Lescaut (April 13-22), and the American premiere of the revised version of Tobias Picker and Gene Scheer’s Thérèse Raquin (February 16-25).

Dicapo Opera Theatre, 184 East 76^th Street at Lexington Avenue

April 21, 22, 28 & 29 at 8 pm & 23 & 30 at 4 pm

Tickets $47.50 212/288-9438