The so-called “Singing Bridge,” an industrial-looking structure spanning the channel between the Maine towns of Hancock and Sullivan, was torn down in 1999. Its passing left those of us who routinely crossed its metal roadway with memories of girders against an eastern sky, the three distinctive harmonic tones created by each passing car, and the feeling of leaving modern Maine for something older, more solid, more real. The steel-and-stone bridge may be gone, but a new structure of music, words and drama may have claimed and even surpassed its place as a beloved Maine landmark.

The Opera House Arts production of “The Singing Bridge,” which held its world premiere at the Stonington Opera House this past weekend, is an evocative, modern vocal work that stays with the listener long after the last curtain call. I attended the opera on Saturday evening, the second of its three sold-out performances, and as I write this review more than a day later, I

am still haunted by its emotional and musical presence.

Featuring an outstanding cast of singers and musicians, this chamber opera represents a specific time and place, coastal Hancock County in the 1940s and 1960s, while it manages to address universal issues of trust and betrayal, of despair, hope and rebirth.

The story of the opera revolves around seduction, incest, addiction and redemption. As one of the characters sings, it’s about “tide and time and travel” … “And sex and money!” another adds. But this work also touches upon Maine history, the fishing industry, small-town sociology, and the geology of the Maine coast. Which is to say it’s a complicated libretto, and one that I wish I had had the chance to read, so as not to miss any of the wordplay.

However, it was not the words that left me entranced and bemused on my long drive back from Stonington on Saturday evening. It was the atmosphere of the piece, as dense and otherworldly as a thick Down East fog, that marked this opera as unique. To describe “The Singing Bridge,” one might use the words “dissonant,” “modern,” “onomatopoeic,” or “impressionist,” but these do not express the textures that composer Anna Dembska has created. Repetitive syllables and keening harmonies recall seabirds, the gurgle of water on rocks and the sound of wind hissing in sea grass.

That this small cast of eight singers was able to sustain the intensity of this piece for 90 uninterrupted minutes is remarkable. But the quality of their singing surpasses remarkable. If for some reason I did not care for this opera, I still would love these singers. Peter Ludwig’s rich, deep baritone caught the essence of Captain Obadiah True. Bruce Rameker earned both boos and bravos from the audience for his beautifully sung portrayal of coldhearted cad Edward Blood. David Schnell and Judith Barnes added comic relief as a pair of bickering town historians while David Bryan added lovely counter-tenor touches as Billy. Jane Struss was both humorous and frightening as the callous Blood family matriarch.

Best of all, however, were performances by Silvie Jensen as Alice True and Olivia Gawet as her daughter Lizzie. Jensen’s voice was exquisite, floating and expressive, a joy to hear. Gawet sang like an angel and acted like a lovable imp. Her facial expressions alone were worth the price of a seat.

“The Singing Bridge” is not a perfect production. There were apparent errors in cues between the orchestra hidden behind the set and the singers onstage. Some of the ensemble arrangements seemed too complicated to follow – at least in one hearing. The opera ended pleasantly but jarringly with a simple melody and a gentle harmonic resolution , seeming to have no relationship to the 90 minutes of music preceding it. But this is an infant opera. It has just been born, and it may have a bit of growing yet to do.

That being said, this is one of the most worthwhile musical events I have attended in Maine. Great credit must be given to the vision, faith and hard work of all of those associated with Opera House Arts. This leap of faith has given us a musical landmark to replace the steel bridge of bygone days. Whether this musical bridge carries future listeners to a desired shore is yet to be seen. I for one want to cross “The Singing Bridge” again.

Those interested in attending the current production of “The Singing Bridge” have just one more chance to do so, as the opera moves for one night only to the Performing Arts Center at the University of Maine at Machias, at 7 p.m. Saturday, July 16. For ticket information, or for information on Opera House Arts in general, call 367-2788 or visit www.operaarts.org.