Missy Mazzoli’s Opera Premiere at the Metropolitan Opera
On a Sunday night in Brooklyn, at a concert by Mannequin Pussy, Missy Mazzoli, a classical composer, was spotted enjoying the punk rock music. Mazzoli, aged 45, is known for embracing both punk and opera. Her passion for punk stems from its raw and expressive nature. She equates it to opera due to their shared depth of emotion and political expression. Mazzoli’s latest composition, “Lincoln in the Bardo,” debuts at the Metropolitan Opera in New York. This marks her as the first woman to have an opera premiered by the Met in its 143-year history.
Mazzoli’s musical journey began with a piano her parents bought when she was seven. She soon started composing her own music, inspired by both classical and punk styles. Influences like MTV and bands such as Guns N’ Roses and Sonic Youth shaped her musical world.
His 11-year-old son, Willie, died unexpectedly, plunging Lincoln into deep grief. He would visit the graveyard frequently to mourn. “Lincoln in the Bardo” explores these poignant themes.
I have no power here. And now I must accept it. My boy is gone! My boy is gone! Peaceful, resplendent, in a new form of being. Willie is dead. My dear little chap, good-bye.
Mazzoli feels the opera addresses significant questions relevant today. Set during the Civil War, it reflects a divided America. Preparing for the opera involved Mazzoli visiting cemeteries. She views opera as a medium to confront difficult topics, using music to convey emotions that words cannot fully express.
The production of “Lincoln in the Bardo” is extensive, featuring elaborate costumes, puppetry, special effects, and even a large horse. Royce Vavrek, who has collaborated with Mazzoli on six operas, describes their partnership as merging storytelling and musical drama into a compelling piece. Recently, they premiered another work, “The Galloping Cure,” addressing the opioid epidemic—a personal issue for both. Mazzoli shared that two of her cousins died due to overdose, and Vavrek’s father succumbed to addiction.
Currently, Mazzoli is experiencing significant professional momentum with two opera premieres and an upcoming piano concerto for the New York Philharmonic. She humorously noted the condensed timing of these events but is focused on enjoying her success.
As a young composer, Mazzoli witnessed gender bias in her industry. Male creators were often hired based on potential; women were expected to have proven their abilities first. To support young female composers, Mazzoli co-founded Luna Lab, offering mentorship and performance opportunities.
For Mazzoli, the Met is a place of personal significance. At 18, she could only afford to sit in the highest section of the Met, a seat that profoundly influenced her career direction.
More information about “Lincoln in the Bardo,” running through Nov. 14 at the Metropolitan Opera, and Mazzoli’s work is available on her official site and through Luna Lab.