Murder at the Opera (Capital Crimes, No. 22) Review

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Murder at the Opera (Capital Crimes, No. 22) ReviewMargaret Truman's latest Capital Crimes novel is "Murder at the Opera," featuring Mackensie Smith and his wife, Annabel Reed-Smith. Mac, a former criminal defense attorney, teaches law at George Washington University; Annabel gave up her legal practice to open a Pre-Colombian art gallery in Georgetown. Mac and Annabel dine at the finest restaurants, live in a beautiful apartment in the Watergate, and routinely hobnob with Washington's elite. They also get involved in murder investigations.
Their latest case is set in the Washington National Opera House at the Kennedy Center for the Performing Arts. Mac and Annabel are busy preparing for a new production of Tosca, he as a "supernumerary" or extra, and she, as a member of the opera board. The drama of Tosca temporarily fades into insignificance when Charise Lee, a twenty-eight year old soprano from Canada, is found stabbed to death. At the opera board's behest, Mac asks a former policeman named Ray Pawkins, who happens to be an opera lover and supernumerary as well, to look into the crime. Naturally, Mac and Annabel weigh in with their ideas about who might have ended Charise's life.
All this occurs against the backdrop of a vague terrorist threat hanging over Washington, D. C. There is talk that an unnamed militant group is planning an attack against prominent political leaders. Officials from intelligence agencies in America and abroad tap their confidential sources to gather vital information that may help thwart a potential tragedy.
Margaret Truman is a workmanlike writer who knows how to construct a mystery so that the reader is hooked "until the fat lady sings." She populates her novels with a host of lively characters, and this one is no exception. Besides the urbane Mac and the attractive and brainy Annabel, there is Pawkins, an arrogant private investigator who dresses to kill and drives a Mercedes sedan. The question is, how does a former policeman manage to live so well? Sylvia Johnson and Willie Portelain are partners in Washington's police department who interview Lee's acquaintances, including her jittery roommate, pianist Christopher Warren, and her slimy agents, Philip Melincamp and Zoe Baltsa. Johnson and Portelain are both competent cops, but while she is a beautiful woman pursuing a degree in criminal justice, he is a street-smart veteran of the force with an oversized physique and an insatiable appetite for junk food.
One of the hallmarks of Truman's mysteries is her insider's take on the events in our nation's capital. "Murder at the Opera" has a great deal of information about how an opera is mounted, as well a glimpse of the efforts of the rich and powerful to boost Washington's cultural image. In addition, Truman provides timely information about the ways in which the FBI, CIA, and the Department of Homeland Security react to the news of a possible terrorist action.
"Murder at the Opera" is a breezy and fast-paced mystery, but it is marred by a disjointed conclusion and implausible developments that would not stand up to close scrutiny. However, Truman knows her audience well, and she delivers what they want and expect: a squeaky clean novel with gentle humor, very little gore and just enough complexity to make the reader wonder whodunit and why.
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