Mezzo-soprano Michelle Mariposa and fellow singers like Tiffany Choe and Chandler Benn enrich the production, shaping Salem’s social dynamics and opportunism through their vivid character portrayals.

Under the baton of Robert Spano, the performance delivers precise, unified musical direction, deftly navigating Ward’s complex meters in a reduced Lisner pit.

The Crucible continues at Lisner Auditorium through March 29, with tickets and information available at wash nat opera.org.

The Washington National Opera revival of The Crucible at Lisner marks the company’s 70th anniversary and complements a season of American works.

Francesca Zambello frames The Crucible as a warning about fear, ignorance, and intolerance, drawing parallels to today’s political climate without naming the president.

Zambello’s Glimmerglass-origin production presents austere visuals: dark costumes by Jessica Jahn, a minimalist set by Neil Patel, and Mark Rivet’s sound design that evokes outdoor evening atmospheres.

Robert Ward’s opera, adapting Miller’s 1953 play, centers on the tragedy of false accusations and omits Miller’s Red Scare narration, drawing from the Salem Witch Trials of 1692.

The ensemble, largely drawn from Cafritz Young Artists, forms a cohesive unit in a production that omits the chorus and relies on an all-hands-on-deck cast and tight, scene-focused direction.

J’Nai Bridges delivers a sensitive Elizabeth Proctor with a warm mezzo voice suited to domestic devotion.

Chauncey Packer as Danforth and Ronnita Miller as Tituba stand out for their vivid presence and strong vocal impact in critical court and confession scenes.

Ryan McKinny’s John Proctor commands the stage with a strong, caustic vocal line that underscores the character’s anger and defiance.