The Lost Opera

Jared is in the throes of mental collapse, consumed by his obsession with Mortuus Messis. As his research reaches a fever pitch, his grip on reality slips. He feels the weight of his discoveries pulling him deeper into madness, all while hearing the haunting music of the opera. Desperate and on the edge, Jared decides to send his research to a mysterious old friend, hoping to preserve the work before he completely unravels.

Jared's mental state continues to deteriorate as he experiences disturbing auditory hallucinations and a terrifying nightmare. A growing sense of being watched leaves Jared feeling exposed and vulnerable.

Jared is spiraling out of control, overwhelmed by the research into Mortuus Messis. Despite spending an entire day on the work, time slips away, and nothing seems to make sense. An uncomfortable conversation with Lily adds to the stress, leaving Jared feeling more isolated and detached. The confusion and growing obsession are leading to an emotional breakdown, as he begins to question their grip on reality.

Jared embarks on a day trip to Boston, seeking answers about the crescent moon necklace. In the North End, he revisits The Witching Hour, the mysterious trinket shop. The encounter with Lina leads to a revelation about the necklace’s material—a moss agate—and a deeper connection to the mystical and symbolic aspects of the gem. However, the conversation leaves Jared feeling uneasy, heightening their sense of paranoia as they return to Blackwater.

Jared dives deep into the contents of the pamphlet Julianna sent, which includes a synopsis of the lost opera Mortuus Messis. The discovery of this long-forgotten work unearths some unsettling details about the opera's structure, characters, and Ustman's cryptic intentions.

The much-anticipated package from Julianna finally arrives, and Jared dives into the materials she's sent. Among the contents are photocopies of Mortuus Messis' pamphlet and several letters—three in total, each neatly folded and sealed. But there’s also something unexpected: a necklace in the shape of a crescent moon, made from a mysterious polished stone. Jared is captivated by its swirling patterns and translucence, and he’s eager to learn more about its significance. Though he’s not familiar with stones or jewelry, a trip to Boston may yield some answers.

Julianna finally reaches out, and her call brings clarity but also raises more questions. She is direct, explaining what she wants from Jared: the full truth about her great-grandmother, Dahlia. Julianna is frustrated by the web of secrecy surrounding Dahlia's fate, with family members avoiding the topic and shrouding it in lies, rumors, and half-truths. She wants closure, and she believes Jared might be the one to uncover it.

Jared finds himself drawn back to the abandoned theater site once again, despite not planning to go. His mind keeps returning to the place, compelled by a force he can't explain. Once there, something strange and unsettling happens—he starts to visualize the theater as it might have looked in its prime, but the images come to him in disjointed fragments.

Jared is clearly on edge today. He’s been anxiously waiting to hear back from Julianna, consumed by uncertainty about what she might want in exchange for the pamphlet and Dahlia’s letters. Her cryptic request weighs heavily on his mind, and he can't shake the feeling that there’s something more at play than simply sharing documents.

It’s 1 AM, and Jared is still wide awake, lost in thought. The triple moon imagery, something he first stumbled upon in his dream, has become all-consuming. No matter how hard he tries to push it aside, his mind keeps returning to it. He's been sifting through old texts, searching for meaning, but the deeper he goes, the more he realizes that the answers he seeks aren’t found in academic sources. They’re not in the archives.

Jared receives a call from Julianna, and it’s clear something significant has surfaced. She’s found what she believes to be the original pamphlet for Mortuus Messis, along with a set of letters written by Dahlia Fleming around the time of the opera’s premiere.

Jared takes a step toward self-soothing, purchasing a cheap boombox to combat the unsettling silence in his hotel room. The device hums with local radio station noise, nothing special, but it provides the constant background sound he’s been craving.

Jared’s tone is strained as he confesses to the mounting tension in his life. His conversation with Lily today has left him feeling more vulnerable than ever. She’s concerned about him—about how distant and distracted he’s become—and her worry has begun to weigh on him. He admits that she’s right, that his obsession with the research, particularly the mysteries surrounding "Mortuus Messis," has consumed his every thought.

Jared’s voice carries a sense of unease as he reflects on the unsettling dream from a few nights ago. He’s still haunted by the vivid imagery—the three moons, the ancient vessel, and his bronze hands—and a deep, gnawing sense that these symbols are more than just figments of his imagination. They feel familiar, as if they are fragments of a forgotten memory, something he should know but can’t quite place.

Jared's voice trembles with the rawness of his recent experience. He describes waking up from an intense, vivid dream that left him drenched in sweat and shaken to his core. The dream, which he can hardly grasp, felt more real than anything he's ever encountered before. He is desperate to record it while it's still fresh in his mind, as the details swirl in his head.

Jared details his call with Dr. Nasir Takrani, which he describes as a deeply insightful conversation that lasted nearly two hours. Dr. Takrani helped Jared understand the rare and significant role Dahlia Fleming’s background in maqam singing would have played in her performance of Mortuus Messis.

Jared shares his excitement upon receiving a reply from Dr. Nasir Takrani, a specialist in Arabic and Persian music. Dr. Takrani expresses interest in Jared's research and has agreed to a phone call later in the week. In his email, he introduces a few intriguing points that deepen Jared’s understanding of maqam music, a central element in Dahlia Fleming’s heritage.

Jared details a phone call with Dr. Cortez about the "banned in Boston" reference he found in the City Archives regarding Mortuus Messis. Dr. Cortez explains the historical context of the phrase, which was commonly used to describe works that were deemed too controversial or provocative for Boston's conservative culture. She shares examples of other banned works, like Eugene O'Neill's Desire Under the Elms and Bertolt Brecht's The Threepenny Opera, highlighting how city officials, religious leaders, and moral watchdogs would censor art that touched on taboo subjects, such as politics, sexuality, or moral decay.However, Dr. Cortez is puzzled by the lack of details in the Mortuus Messis article. The vagueness leaves both of them wondering whether the opera’s ban had to do with its content, its orchestration choices, or some other reason entirely.

Jared reflects on a challenging conversation with Dr. Sutherland, his advisor, who expressed concern about his deepening focus on the supernatural elements of his research. She believes he is becoming too entangled in the unprovable aspects of the story and is losing sight of the academic rigor required for his PhD. She emphasized the importance of sticking to the facts, history, and tangible evidence.However, Jared struggles with this advice. How can he ignore the strange occurrences—such as the unsettling music he heard—and the eerie connections he's uncovered? The boundary between history and folklore is becoming increasingly blurred, and Jared feels that dismissing these experiences would be a disservice to the truth.

Jared recounts a pivotal phone call with Julianna Jenkins, the great-granddaughter of Dahlia Flemming. After days of waiting, Julianna agreed to speak, but with clear boundaries: the conversation would remain unrecorded, and nothing shared could be made public without her explicit consent. Jared, adhering to research ethics, agreed without hesitation. The call revealed a deeply complex and tragic family history.

Jared recounts a chilling and mysterious experience from the previous night. While reviewing his notes in the quiet of his hotel room, he heard faint music drifting through the air. It started softly, growing louder and more distinct, yet when he looked out the window, the street below was empty—shrouded in mist, devoid of any movement or sound.Perhaps fatigue was playing tricks on him, or maybe it was “Musical Ear Syndrome,” a phenomenon where the brain invents music in response to silence. But the music he heard was far too intricate and eerie—discordant melodies that felt alien and unsettling, far removed from any tune he could conjure from memory.

Jared spends a productive day at the Blackwater archives and finally uncovers some critical pieces of the puzzle. Among the discoveries are black-and-white photographs of the Blackwater Opera Theatre, showcasing its striking and bizarre architecture. The building's jagged angles, impossibly tall columns, and asymmetrical ribbed arches give the space an otherworldly and disorienting quality. It’s easy to see why some described the theater as “non-Euclidean,” its design seemingly intended to distort perception and scale.

It’s late, and Jared’s day ends with an unsettling experience. After dinner, he takes a walk to clear his head, finding himself at the crossroads where the Blackwater Opera Theatre once stood. Now, it’s just an overgrown lot enclosed by a rusted fence. The heavy mist and eerie atmosphere make the place feel alive with memories of the past. Jared imagines the night of Mortuus Messis’s premiere in 1916—the excitement of the crowd, the anticipation of the performance, and the tragedy that followed.

Jared’s day begins with a slow start and restless sleep, possibly due to the unease of being in an unfamiliar place. His plan to visit Blackwater’s City Archives hits a snag—they’re closed on Mondays. Despite the setback, he spends time on the agricultural college campus, where a surprise awaits in his inbox.Jared receives an unexpected email from Julianna Jenkins, the great-granddaughter of Dahlia Flemming, a figure tied to his research. Julianna offers an apology for her mother’s brusqueness during previous correspondence, hinting at a strong sense of family privacy. She expresses curiosity about Jared’s work and requests more details about his interest in Dahlia, with the condition that their exchange remains confidential.

Jared has arrived in Blackwater, Massachusetts, and it’s almost 1 a.m. His first impressions of this rural town are a mix of charm and mystery. The streets, paved in cobblestone, have a distinctly European feel, but the thick mist cloaking the town adds an almost ghostly atmosphere. Jared notes the quietness of Blackwater in the summer—something the hotel concierge confirmed, mentioning this season rarely brings visitors.Speaking of the hotel, Jared’s lodgings are steeped in history. Built in 1881, the building exudes antique luxury with tall ceilings, hardwood floors, and a small decorated balcony. Jared muses that guests attending the 1916 premiere of Mortuus Messis at the Blackwater Opera Theatre might have stayed in the very same room.

Jared wakes up in Boston with a pounding headache and some serious regret after a night of overindulgence. He’s got a Greyhound ticket to Blackwater for later tonight, but first, he’s taking us on a historical deep dive into the North End—Boston’s oldest neighborhood.

Jared has finally made it to Boston, the first stop on his way to Blackwater, Massachusetts for his long-awaited field research. After some diplomatic efforts to ease Lily’s nerves about the trip, Jared is off to explore the city’s rich history—though it seems like his enthusiasm might be running a little high, as he indulges in a few too many pints of Samuel Adams and shots with the bartender.

Jared’s dissertation outline has been approved, and so has his research funding! After some tense moments, it looks like things are moving forward with his project—at least academically. The funding will allow him to travel to Blackwater, Massachusetts for more field research, but not without some personal hurdles. Meanwhile, his attempt to get in touch with Emily Jenkins, Dahlia Fleming’s granddaughter, takes a disappointing turn, as she seems uninterested in an interview and more focused on selling her grandmother’s personal memorabilia. Jared is left frustrated and uncertain about how to proceed, especially as his research into Temara Corelli’s family remains at a standstill.

Jared gives an update on his genealogical investigation into Dahlia Fleming, following up on his request for next-of-kin information. After a long wait, Jared receives a response from Emily Jenkins, Fleming’s 54-year-old granddaughter. But things take an unexpected turn as Emily's response hints at a potential financial transaction rather than a simple interview.

Jared takes a step back from his intense research into Mortuus Messis to reflect on his academic journey and the challenges he faces with his dissertation project. After submitting his dissertation outline and bibliography to his committee, Jared contemplates the difficulties of pursuing a niche topic like opera folklore in the remote academic environment of Newfoundland.He shares personal insights about his upbringing in a creative family, with a mother who was an opera singer and a father who was a playwright, providing a glimpse into his childhood filled with artistic chaos and inspiration. Jared also reveals the contrasting academic environment at Whitestone University, where his research on Mortuus Messis seems out of sync with the dominant focus on sea shanties and fisherman songs.

Jared’s research into Mortuus Messis continues to take unexpected turns as he reflects on his genealogical request for Temara Corelli and Dahlia Fleming, which has yet to yield results, and his growing frustration with the research process. He also shares a surprising discovery about Dahlia Fleming’s musical background, revealing that she was not only an opera singer but also deeply involved in Arabic maqam music, an unusual and intricate form of traditional vocal improvisation.Jared’s conversation with Professor Cortez uncovers more personal details about Dahlia's life, including her immigrant background and her eventual embrace of her Iranian roots through maqam singing. This revelation adds new depth to her character and raises questions about her connection to the opera's occult themes.

Jared reveals that his research into Mortuus Messis has taken a decidedly unorthodox turn. Frustrated by his lack of progress in the archives and feeling the pressure of his looming deadlines, Jared decides to take a risky step: he files a genealogical “next of kin” request for the two mysterious opera divas, Temara Corelli and Dahlia Fleming.

Jared dives deeper into the haunting mysteries surrounding the 1916 opera Mortuus Messis, focusing on the lead opera singers—Temara Corelli and Dahlia Fleming—and the bizarre events that transpired during its ill-fated performance.Jared's investigation leads him to some fascinating and strange discoveries. He uncovers the identities of the two lead divas—Temara, a relatively unknown soprano, and Dahlia, a rising star whose voice earned her the nickname "Touched by the Divine." However, despite their promising careers, both women seemingly disappeared from the opera scene shortly after the production. Why did these talented singers vanish?

Jared reflects on the growing frustration he feels with his research process, as his search for answers takes an unexpected turn. While academic archives and documents from reputable sources like the American Opera Society have proven useful, Jared begins to question if true progress can be made from the comfort of his desk. He begins to consider the possibility of field research—a risky yet exciting move that would take him directly to Blackwater, Massachusetts, where some of the most puzzling aspects of his investigation into the ‘Mortuus Messis’ opera may lie.

Jared delves into the eerie world of the ‘Haunted Opera’ trope, a chilling and captivating theme that blends the supernatural with the opulent and dramatic setting of opera houses. Drawing on folkloric traditions, Jared explores the haunting stories that swirl around opera houses and theaters, investigating how these eerie tales interweave the emotional intensity of opera with ghostly legends of love, death, betrayal, and vengeance.

Jared Eastwood explores themes and motives of Ustman's other operas. There were four of them not counting "Mortuus Messis", each revealing fascinating aspects of the composer's unorthodox artistic vision. From his first successful opera to his experiments with spatial illusions and abstract themes, discover how Ustman’s unique approach to opera set him apart in the theatrical world.

In this episode, Jared Eastwood continues his research on the enigmatic composer Berthram Ustman. Dive into the world of Ustman, a musical innovator whose eccentric personality and metaphysical beliefs heavily influenced his work. From pioneering dissonant musical languages to embracing the concept of Gesamtkunstwerk, Ustman's life and creations are nothing short of fascinating.Jared Eastwood - Atticus Jackson

In this tape, host Jared Eastwood interviews Professor Ernest Lowe, an expert in 20th-century public venue architecture from the University of Great Lakes, Massachusetts. The focus of the conversation is on the architecture of the Blackwater Opera Theater, its unique design, and the perceived otherworldly qualities attributed to it.Professor Lowe provides insights into the architectural marvel that is the Blackwater Opera Theater, designed by renowned architect Carl Friedrich von der Horst. He explains that the theater's innovative design aimed to create an immersive and intimate experience for the audience, but some rumors claimed the theater had non-Euclidean proportions, which Professor Lowe attributes to awe and disorientation.The discussion explores the concept of buildings projecting specific atmospheres or energies based on their design. Professor Lowe highlights that certain architectural elements can evoke emotions, and in some cases, these feelings may be so strong that they lead to supernatural legends.The reasons for the eventual demolition of the Blackwater Opera Theater are explained as stemming from a decline in interest in opera, changes in the town's demographics, and a shift toward property and industrial development. While Bernard Ustman's work faced challenges, there is no direct link between his involvement and the theater's demolition.Jared Eastwood - Atticus JacksonProfessor Earnest Lowe - David Ault

Podcast Show Notes: Tape #2 - Interview with Professor Olga CortezIn this intriguing podcast episode, host Jared Eastwood conducts an interview with Professor Olga Cortez, an opera historian from the University of Santa Clara Del Mar, California. The focus of the conversation is the elusive and mysterious opera, "Mortuus Messis," and the puzzling circumstances surrounding its premiere.The interview touches on eyewitness statements from the premiere, which include descriptions of supernatural occurrences and inhuman behavior by the performers on stage. The conversation explores various theories surrounding the premiere, including the possibility of mass hallucination, psychotropic substances, or spiked beverages causing the unusual experiences reported by attendees.Jared Eastwood - Atticus JacksonOlga Cortez - Nikolle Doolin

In this introductory episode, Jared Eastwood introduces the enigmatic story surrounding the lost opera "Mortuus Messis" and its mysterious premiere in 1916 at the Blackwater Opera House in Blackwater, Massachusetts. The narrative is based on an intriguing tape recording from June 16th, 1992, where Jared Eastwood, a PhD candidate in Folklore Studies at Whitestone University, Newfoundland, provides insight into his research diary.The Blackwater Opera House, where "Mortuus Messis" premiered, is no longer in existence, having been demolished in 1947. Jared details how the once-thriving opera house fell into disrepair and was ultimately replaced by industrial and property development, reflecting the decline of opera in Blackwater.The heart of the mystery lies in the premiere of "Mortuus Messis" and the inexplicable disappearance of its composer. Eyewitness accounts of the performance vary but share elements of the eerie and supernatural. Reports include beliefs of a curse, sightings of otherworldly apparitions, and descriptions of actors appearing as demons on stage. Most notably, the audience was profoundly affected, with mentions of unnatural acting, otherworldly music, and singing that defied human capabilities.Jared Eastwood - Atticus Jackson