{"id":18532,"date":"2021-07-07T13:20:08","date_gmt":"2021-07-07T10:20:08","guid":{"rendered":"https:\/\/www.epcc.ee\/?p=18532"},"modified":"2021-08-03T13:26:23","modified_gmt":"2021-08-03T10:26:23","slug":"review-a-composer-creates-her-masterpiece-with-innocence","status":"publish","type":"post","link":"https:\/\/www.epcc.ee\/en\/2021\/07\/review-a-composer-creates-her-masterpiece-with-innocence\/","title":{"rendered":"Review: A Composer Creates Her Masterpiece With \u2018Innocence\u2019"},"content":{"rendered":"<header class=\"css-zbvtt euiyums1\">\n<p id=\"article-summary\" class=\"css-w6ymp8 e1wiw3jv0\">Kaija Saariaho\u2019s grand yet restrained new opera about a tragedy and its reverberations is the most powerful work of her five-decade career.<\/p>\n<div class=\"css-79elbk\" data-testid=\"photoviewer-wrapper\">\n<div class=\"css-6gn0yl ehw59r12\" data-testid=\"photoviewer-children\">\n<div class=\"css-tux0zj ehw59r13\" data-testid=\"photoviewer-overlay\">\n<div class=\"css-b79vc3 ehw59r11\" data-testid=\"photoviewer-captionblock\"><\/div>\n<div class=\"css-1otms6v ehw59r14\">\n<div>\n<div class=\"css-8h527k\" data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><picture class=\"css-1j5kxti\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=600\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 3),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 3),(max-width: 599px) and (min-resolution: 3dppx),(max-width: 599px) and (min-resolution: 288dpi)\" \/><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1200\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 2),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 2),(max-width: 599px) and (min-resolution: 2dppx),(max-width: 599px) and (min-resolution: 192dpi)\" \/><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1800\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 1),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 1),(max-width: 599px) and (min-resolution: 1dppx),(max-width: 599px) and (min-resolution: 96dpi)\" \/><img decoding=\"async\" src=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" sizes=\"((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 80vw, 100vw\" srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-articleLarge.jpg?quality=90&amp;auto=webp 600w,https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-jumbo.jpg?quality=90&amp;auto=webp 1024w,https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-superJumbo.jpg?quality=90&amp;auto=webp 2048w\" alt=\"\" \/><\/picture><\/div>\n<\/div>\n<\/div>\n<p><button class=\"css-1vkv6l7 ehw59r10\" aria-label=\"Expand image captioned At top, Markus Nyk\u00e4nen and Lilian Farahani as a groom and bride in Kaija Saariaho\u2019s opera \u201cInnocence.\u201d Below, Sandrine Piau and Tuomas Pursio as the groom\u2019s parents, who are keeping a deadly secret from their new daughter-in-law.\" data-testid=\"photoviewer-expand-button\"><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"css-1a48zt4 ehw59r15\" data-testid=\"photoviewer-children\">\n<figure class=\"sizeLarge layoutHorizontal css-1uo7c9r\" role=\"group\" aria-label=\"media\">\n<div class=\"css-bsn42l\"><picture><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=600\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 3),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 3),(max-width: 599px) and (min-resolution: 3dppx),(max-width: 599px) and (min-resolution: 288dpi)\" \/><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1200\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 2),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 2),(max-width: 599px) and (min-resolution: 2dppx),(max-width: 599px) and (min-resolution: 192dpi)\" \/><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1800\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 1),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 1),(max-width: 599px) and (min-resolution: 1dppx),(max-width: 599px) and (min-resolution: 96dpi)\" \/><img loading=\"lazy\" decoding=\"async\" class=\"css-rq4mmj\" src=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" sizes=\"auto, ((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 80vw, 100vw\" srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-articleLarge.jpg?quality=90&amp;auto=webp 600w,https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-jumbo.jpg?quality=90&amp;auto=webp 1024w,https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-1\/merlin_190484448_428f6329-f5d7-4658-a7cb-133de3451c39-superJumbo.jpg?quality=90&amp;auto=webp 2048w\" alt=\"At top, Markus Nyk\u00e4nen and Lilian Farahani as a groom and bride in Kaija Saariaho\u2019s opera \u201cInnocence.\u201d Below, Sandrine Piau and Tuomas Pursio as the groom\u2019s parents, who are keeping a deadly secret from their new daughter-in-law.\" width=\"600\" height=\"400\" \/><\/picture><\/div><figcaption class=\"css-13o4bnb e18f7pbr0\"><span class=\"css-16f3y1r e13ogyst0\" aria-hidden=\"true\">At top, Markus Nyk\u00e4nen and Lilian Farahani as a groom and bride in Kaija Saariaho\u2019s opera \u201cInnocence.\u201d Below, Sandrine Piau and Tuomas Pursio as the groom\u2019s parents, who are keeping a deadly secret from their new daughter-in-law.<\/span><span class=\"css-cnj6d5 e1z0qqy90\"><span class=\"css-1ly73wi e1tej78p0\">Credit&#8230;<\/span>Jean-Louis Fernandez\/Festival d&#8217;Aix-en-Provence<\/span><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<div class=\"css-1tyn5zp\">\n<div class=\"css-m46ch3 epjyd6m1\"><\/div>\n<\/div>\n<\/header>\n<div class=\"css-170u9t6\">\n<div class=\"css-1c4e8vg\">\n<div class=\"css-83hgbf\"><\/div>\n<\/div>\n<\/div>\n<section class=\"meteredContent css-1r7ky0e\">\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-axufdj evys1bk0\">AIX-EN-PROVENCE, France \u2014 \u201cInnocence,\u201d the\u00a0<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/festival-aix.com\/en\/event\/innocence\" target=\"_blank\" rel=\"noopener noreferrer\">new opera by Kaija Saariaho<\/a>, begins in soft, somber gloom. A shadowy mist of cymbal rises off long, sepulchral tones down in the basses and contrabassoon, before a keening fragment of bassoon pierces the quiet with melancholy song.<\/p>\n<p class=\"css-axufdj evys1bk0\">It\u2019s just a few seconds of music, but a mood has been established \u2014 comprehensively, unforgettably, yet subtly. Before we know the plot of \u201cInnocence,\u201d we feel it: Something dark and deep has happened, from which memory vibrates into an uncertain future, etched with mourning.<\/p>\n<p class=\"css-axufdj evys1bk0\">We keep feeling it over the hundred minutes that follow, as we come to know intimately a tragedy and its reverberations. Grand yet restrained, a thriller that is also a meditation, \u201cInnocence\u201d is the most powerful work Saariaho has written in a career now in its fifth decade.<\/p>\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-axufdj evys1bk0\">Appearing through July 12 here at the Aix-en-Provence Festival (and\u00a0<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/www.arte.tv\/fr\/videos\/097910-000-A\/innocence-festival-d-aix-en-provence-2021\/\" target=\"_blank\" rel=\"noopener noreferrer\">streaming on arte.tv<\/a>\u00a0on Saturday) after its planned debut in 2020 was canceled, it would be the premiere of the year even in a normal season \u2014 even if its audience were not so hungry for real, big, important, live opera after so many months largely without. It deserves to travel far beyond an already global itinerary: Helsinki, Amsterdam, London, San Francisco, the Metropolitan Opera in New York.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"><\/aside>\n<\/div>\n<div class=\"css-79elbk\" data-testid=\"photoviewer-wrapper\">\n<div class=\"css-z3e15g\" data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div class=\"css-6gn0yl ehw59r12\" data-testid=\"photoviewer-children\">\n<div class=\"css-tux0zj ehw59r13\" data-testid=\"photoviewer-overlay\">\n<div class=\"css-1lvveul ehw59r11\" data-testid=\"photoviewer-captionblock\"><\/div>\n<div class=\"css-1otms6v ehw59r14\">\n<div>\n<div class=\"css-8h527k\" data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><picture class=\"css-1j5kxti\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-3\/merlin_190484445_a3fdb011-2c32-47ca-a185-3b6a587b3099-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=600\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 3),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 3),(max-width: 599px) and (min-resolution: 3dppx),(max-width: 599px) and (min-resolution: 288dpi)\" \/><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-3\/merlin_190484445_a3fdb011-2c32-47ca-a185-3b6a587b3099-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1200\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 2),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 2),(max-width: 599px) and (min-resolution: 2dppx),(max-width: 599px) and (min-resolution: 192dpi)\" \/><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-3\/merlin_190484445_a3fdb011-2c32-47ca-a185-3b6a587b3099-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1800\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 1),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 1),(max-width: 599px) and (min-resolution: 1dppx),(max-width: 599px) and (min-resolution: 96dpi)\" \/><img decoding=\"async\" src=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-3\/merlin_190484445_a3fdb011-2c32-47ca-a185-3b6a587b3099-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" sizes=\"((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 80vw, 100vw\" srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-3\/merlin_190484445_a3fdb011-2c32-47ca-a185-3b6a587b3099-articleLarge.jpg?quality=90&amp;auto=webp 600w,https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-3\/merlin_190484445_a3fdb011-2c32-47ca-a185-3b6a587b3099-jumbo.jpg?quality=90&amp;auto=webp 1024w,https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-3\/merlin_190484445_a3fdb011-2c32-47ca-a185-3b6a587b3099-superJumbo.jpg?quality=90&amp;auto=webp 2048w\" alt=\"\" \/><\/picture><\/div>\n<\/div>\n<\/div>\n<p><button class=\"css-1vkv6l7 ehw59r10\" aria-label=\"Expand image captioned Magdalena Kozena, standing at left next to\u00a0Jukka Rasilainen, with Pursio at right, is a waitress at the wedding with a connection to the family.\" data-testid=\"photoviewer-expand-button\"><\/button><img decoding=\"async\" class=\"css-1m50asq\" src=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-3\/merlin_190484445_a3fdb011-2c32-47ca-a185-3b6a587b3099-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" sizes=\"((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 80vw, 100vw\" srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-3\/merlin_190484445_a3fdb011-2c32-47ca-a185-3b6a587b3099-articleLarge.jpg?quality=90&amp;auto=webp 600w,https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-3\/merlin_190484445_a3fdb011-2c32-47ca-a185-3b6a587b3099-jumbo.jpg?quality=90&amp;auto=webp 1024w,https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-3\/merlin_190484445_a3fdb011-2c32-47ca-a185-3b6a587b3099-superJumbo.jpg?quality=90&amp;auto=webp 2048w\" alt=\"Magdalena Kozena, standing at left next to\u00a0Jukka Rasilainen, with Pursio at right, is a waitress at the wedding with a connection to the family.\" \/><\/div>\n<\/div>\n<\/div>\n<div class=\"css-1a48zt4 ehw59r15\" data-testid=\"photoviewer-children\">\n<figure class=\"css-1ef8w8q e1g7ppur0\" role=\"group\" aria-label=\"media\"><figcaption class=\"css-18crmh6 ewdxa0s0\"><span class=\"css-16f3y1r e13ogyst0\" aria-hidden=\"true\">Magdalena Kozena, standing at left next to\u00a0Jukka Rasilainen, with Pursio at right, is a waitress at the wedding with a connection to the family.<\/span><span class=\"css-cnj6d5 e1z0qqy90\"><span class=\"css-1ly73wi e1tej78p0\">Credit&#8230;<\/span>Jean-Louis Fernandez\/Festival d&#8217;Aix-en-Provence<\/span><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-axufdj evys1bk0\">This is undoubtedly the work of a mature master, in such full command of her resources that she can focus simply on telling a story and illuminating characters. Unlike so many contemporary operas, \u201cInnocence\u201d \u2014 featuring the mighty London Symphony Orchestra, conducted with sensitivity and control by Susanna Malkki \u2014 doesn\u2019t feel like a sung play with a more or less disconnected, elaborately self-regarding orchestral soundtrack.<\/p>\n<div id=\"NYT_MAIN_CONTENT_1_REGION\" class=\"css-9tf9ac\" data-testid=\"region\">\n<div class=\"css-bdfzry\">\n<div class=\"css-1lpvp6o\">\n<div class=\"css-1xk4eoy\">\n<div id=\"MS\"><\/div>\n<div class=\"css-tegfbt\">\n<div class=\"css-1ibyhwt\">\n<div class=\"css-azx95j\">\n<div class=\"css-13brihr\">In fact, during the performance I attended, on Tuesday, I periodically tried to listen exclusively to the instrumental lines and their interplay, but despite the obvious virtuosity and density of the score, my ears kept lifting back up to the stage, to the lucid, inexorable action, the integrated theatrical whole. Porous and agile; simmering beneath and around the voices; and only occasionally, briefly exploding, this is music as a vehicle for exploring and intensifying drama. It is complex, yet confident enough to exist not merely for its own sake.<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p class=\"css-axufdj evys1bk0\">With a libretto by the Finnish writer Sofi Oksanen, and translation work on more than a half-dozen languages by Aleksi Barri\u00e8re, \u201cInnocence\u201d is set in 21st-century Helsinki, where there has been a deadly shooting at an international school. The action continually shifts back and forth between a recollection of the disaster, by six students and a teacher who went through it, and a wedding party happening 10 years later.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\">\n<div id=\"c-col-editors-picks\" class=\"css-j64t31\">\n<article class=\"css-5raq8g\"><\/article>\n<article class=\"css-5raq8g\">\n<div class=\"css-1rcvpgy\"><\/div>\n<\/article>\n<\/div>\n<\/aside>\n<\/div>\n<div id=\"story-ad-2-wrapper\" class=\"css-zz666k\">\n<div id=\"story-ad-2\" class=\"ad story-ad-2-wrapper\" data-google-query-id=\"CP-Gz-XQlPICFU_Fsgod1pUN4A\">\n<div id=\"google_ads_iframe_\/29390238\/nyt\/arts\/music_4__container__\">It quickly becomes obvious that the two events are linked. The groom is the shooter\u2019s brother, and his family, which has been ostracized and is desperate to move beyond what happened, has kept the whole thing from the bride. (If that wasn\u2019t enough, there\u2019s a reason a waitress has been skulking around, jaw clenched, on the nuptial sidelines: She is the mother of one of the victims.)<\/div>\n<\/div>\n<\/div>\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-axufdj evys1bk0\">There is ample operatic precedent for an innocent young woman guided blindly by her lover into a world of violence and deception: Think of Bartok\u2019s \u201cBluebeard\u2019s Castle\u201d and Debussy\u2019s \u201cPell\u00e9as et M\u00e9lisande.\u201d \u201cInnocence\u201d recalls those, as well as the ferocious economy of Berg\u2019s \u201cWozzeck\u201d and Strauss\u2019s \u201cElektra\u201d in its relatively modest, intermissionless length.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"><\/aside>\n<\/div>\n<div class=\"css-79elbk\" data-testid=\"photoviewer-wrapper\">\n<div class=\"css-z3e15g\" data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div class=\"css-6gn0yl ehw59r12\" data-testid=\"photoviewer-children\">\n<div class=\"css-tux0zj ehw59r13\" data-testid=\"photoviewer-overlay\">\n<div class=\"css-1lvveul ehw59r11\" data-testid=\"photoviewer-captionblock\"><\/div>\n<div class=\"css-1otms6v ehw59r14\">\n<div>\n<div class=\"css-8h527k\" data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><picture class=\"css-1j5kxti\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=600\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 3),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 3),(max-width: 599px) and (min-resolution: 3dppx),(max-width: 599px) and (min-resolution: 288dpi)\" \/><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1200\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 2),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 2),(max-width: 599px) and (min-resolution: 2dppx),(max-width: 599px) and (min-resolution: 192dpi)\" \/><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1800\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 1),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 1),(max-width: 599px) and (min-resolution: 1dppx),(max-width: 599px) and (min-resolution: 96dpi)\" \/><img decoding=\"async\" src=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" sizes=\"((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 80vw, 100vw\" srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-articleLarge.jpg?quality=90&amp;auto=webp 600w,https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-jumbo.jpg?quality=90&amp;auto=webp 1024w,https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-superJumbo.jpg?quality=90&amp;auto=webp 2048w\" alt=\"\" \/><\/picture><\/div>\n<\/div>\n<\/div>\n<p><button class=\"css-1vkv6l7 ehw59r10\" aria-label=\"Expand image captioned Lucy Shelton, at top, as a teacher, and, from left at bottom,\u00a0Beate Mordal,\u00a0Julie Hega, Simon Kluth,\u00a0Camilo Delgado D\u00edaz and Marina Dumont as students affected by a school shooting.\" data-testid=\"photoviewer-expand-button\"><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"css-1a48zt4 ehw59r15\" data-testid=\"photoviewer-children\">\n<figure class=\"css-1ef8w8q e1g7ppur0\" role=\"group\" aria-label=\"media\">\n<div class=\"css-1xdhyk6 erfvjey0\"><span class=\"css-1ly73wi e1tej78p0\">Image<\/span><\/p>\n<div class=\"css-8h527k\" data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><picture class=\"css-1j5kxti\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=600\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 3),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 3),(max-width: 599px) and (min-resolution: 3dppx),(max-width: 599px) and (min-resolution: 288dpi)\" \/><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1200\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 2),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 2),(max-width: 599px) and (min-resolution: 2dppx),(max-width: 599px) and (min-resolution: 192dpi)\" \/><source srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1800\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 1),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 1),(max-width: 599px) and (min-resolution: 1dppx),(max-width: 599px) and (min-resolution: 96dpi)\" \/><img decoding=\"async\" class=\"css-1m50asq\" src=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" sizes=\"((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 80vw, 100vw\" srcset=\"https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-articleLarge.jpg?quality=90&amp;auto=webp 600w,https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-jumbo.jpg?quality=90&amp;auto=webp 1024w,https:\/\/static01.nyt.com\/images\/2021\/07\/07\/arts\/07opera-review-2\/merlin_190484469_2d728e29-5ce3-48ac-be89-21aca8f38e8d-superJumbo.jpg?quality=90&amp;auto=webp 2048w\" alt=\"Lucy Shelton, at top, as a teacher, and, from left at bottom,\u00a0Beate Mordal,\u00a0Julie Hega, Simon Kluth,\u00a0Camilo Delgado D\u00edaz and Marina Dumont as students affected by a school shooting.\" \/><\/picture><\/div>\n<\/div>\n<\/div><figcaption class=\"css-18crmh6 ewdxa0s0\"><span class=\"css-16f3y1r e13ogyst0\" aria-hidden=\"true\">Lucy Shelton, at top, as a teacher, and, from left at bottom,\u00a0Beate Mordal,\u00a0Julie Hega, Simon Kluth,\u00a0Camilo Delgado D\u00edaz and Marina Dumont as students affected by a school shooting.<\/span><span class=\"css-cnj6d5 e1z0qqy90\"><span class=\"css-1ly73wi e1tej78p0\">Credit&#8230;<\/span>Jean-Louis Fernandez\/Festival d&#8217;Aix-en-Provence<\/span><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-axufdj evys1bk0\">But \u201cInnocence\u201d is very much of our time, and \u2014 in its play of multiple languages and registers of speaking and singing \u2014 very much itself. Saariaho gave it the working title \u201cFresco\u201d; it was inspired,\u00a0<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/07\/02\/arts\/music\/innocence-opera-aix-festival.html\">she has said<\/a>, by \u201cThe Last Supper,\u201d from which she derived the size of the cast (13 soloists) and the piece\u2019s broader questions of culpability and the linked yet separate experiences of people who have shared a trauma.<\/p>\n<p class=\"css-axufdj evys1bk0\">Members of the wedding party sing: the groom, a tenor, in boisterous exhortations; the bride, a soprano, with sweet lyricism. A priest, the only friend the family has left, murmurs ominously about the faith he has lost.<\/p>\n<p class=\"css-axufdj evys1bk0\">The surviving students and teacher, on the other hand, speak \u2014 though in precise rhythms artfully tailored to their respective languages of Czech, Swedish, French, German, Spanish, Greek and English. The waitress\u2019s daughter, Marketa (a memorably rapt Vilma Jaa), appears as a kind of phantom, singing in the eerily plain style of Finnish folk music. The Estonian Philharmonic Chamber Choir chants offstage, a hint of a world beyond the fevered hothouse of the plot. All these disparate vocal worlds are linked by the orchestra, which wraps around the singers lightly and sleekly \u2014 never explicitly underlining them, never competing.<\/p>\n<\/div>\n<\/div>\n<p>Look more: <a href=\"https:\/\/www.nytimes.com\/2021\/07\/07\/arts\/music\/innocence-saariaho-opera-aix.html\">The New York Times<\/a><\/p>\n<\/div>\n<\/div>\n<\/section>\n","protected":false},"excerpt":{"rendered":"<p>Kaija Saariaho\u2019s grand yet restrained new opera about a tragedy and its reverberations is the most powerful work of her five-decade career. At top, Markus Nyk\u00e4nen and Lilian Farahani as a groom and bride in Kaija Saariaho\u2019s opera \u201cInnocence.\u201d Below, Sandrine Piau and Tuomas Pursio as the groom\u2019s parents, who are keeping a deadly secret [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-18532","post","type-post","status-publish","format-standard","hentry","category-media"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Review: A Composer Creates Her Masterpiece With \u2018Innocence\u2019 - Estonian Philharmonic Chamber Choir<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.epcc.ee\/en\/2021\/07\/review-a-composer-creates-her-masterpiece-with-innocence\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Review: A Composer Creates Her Masterpiece With \u2018Innocence\u2019 - Estonian Philharmonic Chamber Choir\" \/>\n<meta property=\"og:description\" content=\"Kaija Saariaho\u2019s grand yet restrained new opera about a tragedy and its reverberations is the most powerful work of her five-decade career. 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