‘The Prioress’ Tale’’ is one of 26 stories in Chaucer’s classic ‘‘The Canterbury Tales,’’ a relic of 14th century Middle English revered by linguistic and literary enthusiasts. But the tale has a darker past rooted in attitudes of European anti-Semitism that culminated
with the Holocaust.

Centuries later, the tale has been commandeered, reworked and turned into
an opera about religious understanding by Delvyn Case, a 33-year-old composer and Eastern Nazarene College music professor who hopes his transformation will create dialogue among faiths and provide healing through music.

‘‘It’s the most important thing I’ve ever done professionally,’’ said Case, who talks rapidly with the enthusiasm that comes from spending two years and thousands of unpaid hours pouring his soul into the opera, which features professional performers and runs Thursday and Saturday at Eastern Nazarene.

In its original Chaucer form, ‘‘The Prioress’ Tale’’ is of the blood libel literary genre. These sensationalized stories tell of nefarious individuals who perpetuate horrific acts on people. In many stories, the nefarious are Jews, the victims are children, and the acts involve cannibalism.

Specifically, ‘‘The Prioress’ Tale’’ tells of a young boy who incessantly sings a hymn to the Virgin Mary and is killed by a Jewish man who becomes enraged because of the singing. The man slits the boy’s throat and throws his body in the sewer, ultimately bringing death to all the Jews and earning the boy status as a martyr.

When Chaucer wrote ‘‘The Canterbury Tales,’’ Jews has been expelled from England for 100 years. Debates about whether it was Chaucer or his characters who were anti-Semitic are ongoing but one thing is certain: it was a popular story in its time.

Case, who has devoted his music career and teaching to social justice, immediately saw the story’s potential after reading it in college. He was struck by how one piece of music- the song for the Virgin Mary- could have such different interpretations and effects on cultures. In Chaucer’s tale, the difference results in tragedy. But Case saw how the plot could be changed to show that music can provide a path to forgiveness and healing.

‘‘I felt I needed to make a statement about contemporary society,’’ said Case. ‘‘I wanted (the opera) to have some life beyond just art.’’

‘‘The story ends up being how culture and music can be used for good or evil; it can be divisive or bring people together,’’ Case said.

When Case decided to put Chaucer to opera, he knew one of his first steps was to consult a rabbi.

He realized that being a Christian and working with such a controversial story, even if he intended to turn it on its head and completely change the meaning, was fraught with the potential for misunderstanding.

Newburgh — "La Boheme" by Giacomo Puccini is set in 1830s Bohemian Paris, but the Opera Company of the Highlands has transported its imaginative production to Newburgh on Christmas Eve 1900. It's still in Italian, with supertitles in English, and it stirs the heart as always with its passionate arias no matter what the setting as we follow the lovers, Mimi and Rodolfo, to their inevitable tragedy. What the Newburgh scenes add is an immediacy and nostalgia that brings the tragedy closer to home. The set for Act 3 overlooking the Hudson with the Dutch Reform Church in the foreground is a stroke of visual artistry.

As the impoverished Mimi, Mi Yong Park beautifully expresses the depth of emotion of her character with her rich soprano and acting range. As the poet Rodolfo, tenor Adam Russell portrays a conflicted young man whose impulse to love takes full possession, leading him to fits of jealousy and guilt. "Your little hand is so cold," he declares when they meet, introducing a melody that lifts and sears the listener as Puccini fits the music to the dramatic moment. "My soul trembles," Mimi responds, and the lover's duet is a high point of opera. Park and Russell on opening night mesmerized the South Junior High audience with their genuine warmth of feeling. Their later duet, "We'll stay together until the flowers bloom," also captured the ardor of youthful love.

The other pair of star-crossed lovers, Musetta the coquette and Marcello the painter, follow an opposite tact in love, unserious and lighthearted, but ending in similar conflict. Rebecca Gordon makes Musetta a colorful femme fatale with her articulate soprano and sense of theater. While she sings "When I stroll along all alone," we believe that she does stop men in their tracks. Chad Karl's Marcello finds her irresistible, but his vigorous baritone and assertive style make him her match in the course of their courtship.

Jeremy Moore as the musician Schaunard combines an appealing baritone with his acting, and Elex Lee Van brings a strongly attractive bass to his role of the philosopher Colline. Bulent Guneralp takes on several parts with a firm bass-baritone and comedic panache.

Dale Morehouse directs this first-class production, and Marcus J. Parris expertly conducts the 18-piece orchestra. For a street fair and intermission, Howard Garrett is an organ grinder who roles out hefty tunes. Elaine Simpson has well prepared the 17-person chorus, which includes four children. Natalie Zdanovskaia deserves praise for her creative sets and costume designs.

Thanks above all are due to artistic director Claudia Cummings, who envisioned the whole show and brought it to fruition. You need to see this production for yourself to appreciate the professional talent in Newburgh.