PROVO — Writing an opera is a daunting task, but add in a tight deadline and working without the music and it's almost impossible.

That's what Glen Nelson took on when he agreed to write the text for "Book of Gold," the opera making its world premiere at Brigham Young University Friday.

"To create something of this scale in such a brief period is extraordinary, and more than a bit crazy. Usually, grand operas have very long gestation periods. When a major opera house commissions a new work, as much as a decade can pass before it is staged," Nelson said.

However, Nelson, working with composer Murray Boren, finished the libretto in time, largely because he and Boren have worked together for years on various projects. In fact, Nelson wrote the first draft before any music had been composed.

"Murray and I have developed a certain shorthand from our years of working together. I have a fairly clear idea of how the texts will ultimately sound. My idea is that the text is there to serve the music, so I try to balance the demands of getting the story told with the need for the music to expand and breathe," he said.

After he decided the story would focus on the emergence and ordeal of printing the Book of Mormon, Nelson began to research the time period. He wanted to be sure the dialogue fit the era and make certain the events included were as accurate as possible.

"It was something I found intimidating. Putting words into a historical figure's mouth is an uncomfortable job for a writer and, in writing about the Prophet (Joseph Smith), I sensed potential land mines all around."

As a result, Nelson and Boren determined nothing would be made up. Every action in the story would be backed up with historical documentation.

Nelson said he hopes that will free up the audience to listen without wondering what events the authors might have made up.

The refinement process is a central theme as Smith endures persecution and loss after he is visited by God and finds plates of gold that tell the story of the Book of Mormon prophet Mormon.

"I wanted to show Joseph grow from a young man to a prophet. It did not happen in a single day. To my mind, this span of time shows the miracle of one man's development. At the end of the opera, we present a glimpse of what Joseph is to become eventually. Emma also sees it, and it is a wonderful and frightening moment for her," Nelson said.

"I hope the audience takes home the fact that none of us is protected from difficulties," said Rodger D. Sorensen, the opera's director. "These journeys are hard, but with faith we can make it through."