Interpretation of the Genre in Kaija Saariaho’s Opera Innocence

Abstract

The idea of a renewal of the genre of opera has found its brilliant manifestation in numerous works written by some of the outstanding composers of our time: John Adams, Louis Andriessen, Tan Dun, Steve Reich, Philip Glass, John Cage, Kaija Saariaho and many others. Their works demonstrated transformations stipulated by transgressions of cause-and-effect relationships in their dramaturgy, inclusions of semantic abruptions interrupting the linearity of the narrative, as well as a rejection of the communicative function of words in favor of the musicality of their sound. In some compositions the nature of the relationship between the composer, the performer and the audience has radically changed, which has led to the disintegration of the established norms of genre.

The experiments in the sphere of genre demonstrated in Kaija Saariaho’s new opera Innocence (2018) present the subject of research interests, since they, similar to a mirror, reflect a much more extensive and serious scholarly issue — the interpretation of the genre of opera at the beginning of the 21st century. The novelty of the studied composition is determined by the combination of the genres of opera and thriller in it. The specific construction of the libretto and musical dramaturgy, as well as the interpretation of the vocal and choral parts are aimed at creating a long-lasting emotional buildup characteristic of a thriller and immersing the audience in a state of anxiety and fear.

Keywords: modern musical theater, modern opera, literary thriller, operas by Kaija Saariaho, Innocence