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Aucoin’s music, especially in his solo vocal writing, can be highly emotional and chromatic, often built on series of thirds or fourths, rather than stepwise or tonal melodies.

The piece is richly detailed, psychologically nuanced and philosophically provocative.

Mr. Aucoin, rather like Janacek in his operas, writes music that activates the text. In whole stretches, the orchestra almost hugs each word with some piercing harmony, or doubles a vocal line with instruments.

“Crossing” is opera at its most elemental, something Whitman would have appreciated.

The composer, conductor, poet, pianist and critic may be the most promising operatic talent in a generation. But can he handle the spotlight?

As a composer, Mr. Aucoin twists familiar harmonies and sounds with elements of jazz and other complex rhythms. His opera librettos feature allusions to mythology, religion and history woven around the passions of larger-than-life characters.

Composer. Poet. Conductor. There doesn’t seem to be much that Medfield’s Matthew Aucoin can’t do.

A Far Cry plays con spirito—and without a baton.