Grand Théatre de Genève
(> from page 10) Through our conversation, the outlines of ‘Justice’ come into focus to show that it is not only an opera but as a profound commentary on the social challenges of our time. Through Milo Rao’s visionary approach and the GTG’s commitment to engagement and inclusivity, ‘Justice’ invites audiences to experience opera as a living, breathing experience. By weaving universal themes into contemporary narratives, GTG seeks to show the audience the persistent threads that link history with their daily lives. Soaring back to the bird’s-eye view of the opera, I challenge Cahn at the end of our conversation to articulate his three main wishes for ‘Justice’ and the GTG in 2024. He does not pose even for a second, as if the answer was about to escape his mind anyway. Of course, he wishes for “Justice” to echo in the hearts of all who experience it, leaving a mark that sparks conversations and ignites change. But more than that, he wishes for the GTG to be a beacon, attracting diverse voices and fostering an inclusive space for all narratives. Glancing straight into the close unknown of 2024, Cahn wants to be a year where the opera transcends entertainment, becoming a peaceful catalyst for encounter and emotion. Above all, he wishes everyone a great experience at the upcoming premiere of ‘Justice.’ So do I. The curtain will rise on 22 January 2024. In Geneva. And in the DRC.
Yulia Lem United Nations
Milo Rau: Love Letter to Authenticity In the Grand Théâtre de Genève (GTG), a palpable anticipation builds up ahead of the premiere of ‘Justice,’ an opera intimately connected to Milo Rau’s ongoing multimedia experiment—the Congo Tribunal. As we embark on a poetic discourse with Rau, the visionary behind this spectacle, ‘Justice’ unfurls as a symphony of truths, a dance between reality and representation, and a love letter to authenticity. The dialogue, a melodic beat threading its uneven path across phone calls, messages, taxi rides and fleeting boarding announcements, probes the essence of opera as a transformative force and a vessel for timeless beauty. Together, we pirouette through the whimsical scenery of ‘Justice,’ a documentary opera narrating the love story of a Congolese village and its sacred land. We cross the lyrical landscape into the territories of artistic transformation, real-life quests for truth, and the magnetic appeal of a documentary opera. “Rau, with his unconventional methods, unveils the raw essence of human experience through ‘Justice.’ It is not a mere performance. It is an invitation to explore the tales untold and seek the truth,” challenges Aviel Cahn, the Director of GTG.
12 | WHO - Arts & Health
Rau’s role as a stage director is akin to that of a romantic alchemist, infusing the ancient art form of opera with the vibrancy of real-world issues. Or, as some would think, insnaring it with a spicy potion that belongs to the mass media and the ‘cancellation culture’ in particular. At the heart of ‘Justice’ lies the haunting tale of an environmental catastrophe caused by a Swiss multinational—a narrative often relegated to legal proceedings, political maneuvering and ‘doom scrolling’ on social media. Here, however, it takes center stage, set to the entrancing melodies of Hèctor Parra’s musical storytelling. “Beauty and solidarity are, in theatre, two sides of the same thing,” declares Rau, setting the tone for an opera that defies convention but proclaims love. ‘Justice’ refuses to romanticize suffering, which opera as an art form has been accused of by its critics, but rather thrusts it centre stage, demanding a reckoning with the real-world realities—all conveyed gently, according to Rau. A balladeer in conversation, Rau reveals the genesis of ‘Justice’ as a meta-commentary born from the poignant notes of the Congo Tribunal. His vision emerges as a sweeping ballade; an ode to bare the audience’s souls to the reality of the Congolese mining district and the environmen-
tal disaster that reshaped the lives of Congolese villagers and local mining workers. ‘Justice’ is a stark departure from the fantastical narratives that often dominate the operatic world. It is a deliberate choice to bring the audience face-to-face with the unfiltered complexities of the human experience. But aren’t we already living in the world of complexities amplified by drama-thirsty social media and our own headspace, addicted to the bloodline of violent headlines propagated by ‘influencers’? Is not the opera the last recluse where our soul can float through the timeless river of beauty, fantasy, and the cathartic relief from the everyday? It is not about the escapism; it is about purity and relief that soothers our torments and, for a splitting moment, carries us to the calm waters from which we emerge ready to face it all again. But back to it. As we navigate the tangible world of ‘Justice,’ Rau unravels the threads binding traditional artistic forms and societal transformation, painting a canvas filled with the hues of a documentary opera. “’Justice’ is an intimate dance with truth, a lyrical ballad that resonates with the raw emotions of the audience. It is not about the Congo Tribunal. It is about the human stories
