Some works have a destiny of their own, independent of the intentions of their authors. They arrive, unannounced, slam the door in your face, take residency in your house, and boss you around.
In the summer of 1994 I was a student at the Aspen Music School, taking piano lessons with Joseph Kalichstein and spending every moment I could reading books, which my parents were sending to me all the way from Siberia. Slowly, one parcel at a time, our large library was following me to the U.S. I still remember the smell of the thick, blue volume of Maeterlinck’s plays, that peculiar blend of old paper and print smell, which is forever associated in my memories with my childhood and our home in Russia. The moment I opened The Blind, I had a jolt of recognition. “This is a perfect anti-opera, or perhaps an a cappella opera,” was my first thought. “This is insane. There is no such thing as an a cappella opera, this is just not possible!” was my second thought. And before I knew it, I started sketching the libretto and the thematic material. A few weeks later, by the end of the Aspen Music Festival, I had a complete manuscript.
To this day it remains one of the strangest creations in my catalog. It was not commissioned; nobody seemed to want it. So, it went into my desk, where it remained for many years—until 2011, when the Berliner Kammeroper found out about its existence and asked to see the score.
Shortly after the Berlin premiere, Moscow’s Stanislavsky Theater presented its own production of The Blind. For the overture I selected an electronic piece, “After the End of Time,” which I composed in 1993. Its post-apocalyptic soundscape set the desired emotional frame for the opera. The overture was omitted in Berlin and shortened for the Moscow production. Lincoln Center Festival will be the first one to present it in its entirety.
When John La Bouchadiére approached me about producing this opera in the dark, I welcomed the idea. Previously, I had the unique experience of attending Dialogues in the Dark in Davos, Switzerland, during the World Economic Forum. In our modern society we tend to rely on our vision above all other senses, yet we struggle to communicate and to truly “see” and know each other.
By allowing other senses to take over, although feeling disoriented and lost at first, we can discover and enrich the understanding of who we truly are. Religious symbolism underlying this opera is amplified by this “unseen” staging. By wearing a blindfold, one surrenders to the unknown, to the vulnerability of uncertainty. The illusion of predictability is stripped off, and one is left alone with questions. Questions often reveal more than answers, and I personally look forward to not seeing this visionary production.
The strings are the veins of music.
In the night, inside the piano,
They grow silence
Until it ripens and calls
To the composer, who gathers sounds
In the darkness, like a blind-man
Picking the wild flowers
Guided only by their fragrance.