Rosalyn Aninyei, founder and CEO of Vesta Orchestra and Opera Foundation, has re-imagined Wole Soyinka's classic play The Trials of Brother Jero as an opera. The production debuted at the National Theatre in Iganmu, Lagos, marking a significant milestone for opera in Nigeria.
Bringing Opera to Nigeria
Opera, a unified performance combining music and drama, was introduced to Nigeria through European influence but has not gained widespread appreciation. Aninyei, a violinist who lived and worked in Vienna, Austria, for over a decade, returned to Nigeria in 2016 to establish the Vesta Orchestra and Opera Foundation. She aims to create a world-class platform for Nigerian performing arts professionals.
"We are 10 this year, and would be rolling out beautiful operatic and musical works to celebrate," Aninyei said.
The Opera Adaptation
The opera features a 50-man orchestra and a 25-man chorus, bringing Soyinka's satirical work to a broader international audience. Aninyei hopes this production will contribute to the future of opera and musical theatre in Nigeria. She also called for government support to make performance houses more affordable.
"I believe we have very many stories to tell. Some we have told and retold 1000 times. This is a timeless story," she explained. Growing up, she attended plays at the National Arts Theatre with her family and wanted more music and instruments in those performances. Her experiences at the opera in Vienna inspired her to bring that spectacle to Nigeria.
Creative Process
To transform the play into an opera, Aninyei consulted composer Dr. Seun Owoaje, who suggested converting the story into verses for a libretto. Songwriter and composer Kehinde Oretimehin wrote the libretto, and Owoaje composed the music. The team preserved the humor, satire, and social criticism of the original play while adding continuous melody, recitatives, and arias to enhance emotional depth.
"Most of us had performed Jero at some point in school. It is a familiar story, and the humorous nature made it easy to approach our goal in harmony," Aninyei said. She noted that opera is full of drama and humor, making it a natural fit for Nigerian audiences.
Challenges and Responses
Aninyei faced challenges in condensing the play into a libretto without losing essential scenes. Some critics noted missing dialogue, but she believes the story was properly performed. Funding was a major issue, as potential sponsors were unfamiliar with opera. "Now that we have an example, it is my hope that going back to them produces a positive response the second time around," she said.
Audience reactions were overwhelmingly positive. "We had laughter from start to finish," Aninyei revealed. The opera sparked discussions about faith, power, and performance in public life, and she sees it as part of a broader movement to reinterpret African literary classics for contemporary audiences.
Future Plans
Aninyei plans to tour the production and take it to international festivals. She expressed gratitude for the talent in Nigeria, saying, "Around every street corner is a genius; and my work allows me interact with many of them." Born Rosalyn Awelekanma, she holds a Master's in International Business and studied violin at the Vienna Conservatorium School of Music. She also studied orchestra management at the Juilliard School in New York and is a member of the League of American Orchestras.
"We will be telling more of our Nigerian stories as Musicals and Operas. There is a hunger for African stories globally. We must be the ones to tell them," Aninyei concluded.
