6 minute read
Sounding ‘Justice’: Aviel Cahn’s Vision of the Grand Theatre de Geneve (GTG) as a Place for Social Reflection
Yulia Lem / United Nations
As a human right advocate and a humanitarian aid worker, I am captivated by the ability of art to shape societies, foster well-being, bring peace and weave the threads of healing into the very fabric of humanity. My own exploration now converges with a powerful voice in the field, Aviel Cahn, the Director of the Grand Theatre de Geneve (“GTG”).
In this interview, I embark on a journey with Cahn, delving into the transformative potential of opera in the forthcoming GTG production ‘Justice.’ In our conversation, I seek to unravel the balance between high art and social responsibility under Cahn’s direction. Against the backdrop of real-life societal challenges, ‘Justice’ stands as an unnerving (but for the moment blank) canvas for testing this balance.
In exploring the potential of opera as a catalyst for social change, Cahn quickly and categorically rejects the notion of opera as an exclusive sanctuary for high art. In his words, “a sanctuary is too untouchable. GTG is a place to live and encounter. It shouldn’t be a holy ground. Rather, it should be a space for discussion, encounters and engagement.” In his interpretation, “a sanctuary is an adoration place. I don’t see opera as a preservation but as a naturally evolving organism.”
When asked about the importance opera traditions, Cahn adds that “Traditions are beautiful, but they should not become artistic constraints. We should question them, shake them and abandon some that stem from bad habits. Opera, especially at GTG, is a living art form of today.” In that context, ‘Justice’ is destined to become a real-time commentary on societal injustices, offering an immersive experience that transcends traditions and boundaries. Milo Rao’s sharp directorial edge will prompt the audience to engage beyond the stage, transforming opera into a medium for contemplation and potentially action.
But can opera evolve without being revolutionary? According to Cahn, “opera is not a preservation society. Even old pieces are recreated with today’s artists, who are asking why and how we do it now. We can stage classics like Aida or La Traviata through the lens of today, making it a relevant and fresh experience.”
The ambition of ‘Justice’, however, is to bridge the gap between timeless narratives and urgent social issues. To do that, Milo Rao’s documentary approach introduces a unique texture, connecting the opera to the real-world thirst for answers, such as the ongoing Congo Trial.
‘Justice’ is not a myth; it is a reflection of the pressing issues faced by real people. The narrative story behind ‘Justice,’ portraying an environmental catastrophe in a Congolese village, is not a distant tale but a harsh reality. This connection to a real-world narrative ensures that ‘Justice’ is not just an artistic expression but a mirror reflecting the struggles faced by communities today.
Is GTG a battleground for social issues?
According to Cahn, certainly not. “The theatre should be a peaceful place where social issues are discussed, not fought over. Many landmark operas addressed societal problems, and GTG should continue that tradition by telling stories that matter today.”
Cahn emphasizes the relevance of ‘Justice’ by noting that “the team is currently in the Democratic Republic of Congo, gathering firsthand accounts and creating a documentary for the opera’s introduction. The Swiss TV is covering their journey, bringing this real-world connection to the forefront.”
A great addition to the relevance is the use of voices from the region, both on stage and in the libretto. “The team, arriving for rehearsals in December, includes one singer from the region. It is not an opera-rich area. There is simply no opera in the DRC. While I would love to bring ‘Justice’ to Kinshasa, that is not possible at the moment.”
‘Justice’ explores diverse narratives, and Milo Rao’s touch seeks to ensure authenticity. The GTG becomes a platform not just for artistic expression but a conduit for voices often unheard, voices echoed in the ongoing pursuit of justice. Cahn believes that Milo Rao’s vision ensures that the narrative is not just shaped; it is grounded in the lived experiences of real individuals, adding weight to the role of opera directors as influencers in social discourse.
Navigating the fine line between social responsibility and artistic expression is a delicate task. According to Cahn, ‘Justice’ elevates entertainment by opening an opportunity for influence rather than activism. He emphasizes that ‘Justice’ is a reflection and an experience. It allows the audience to draw their own conclusions, fostering dialogue rather than division. The ongoing Congo Trial and the narrative story add layers of complexity, ensuring that ‘Justice’ is open to interpretation while retaining its impact.
Cahn acknowledges the risk of romanticizing human suffering, which is opera is known for. While he sees it as a danger, he finds solace in the documentary touch and ongoing efforts to ground
‘Justice’ in the unfiltered truth, fostering genuine engagement with the issues at its core.
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 birds-eye view of the opera, I challenge Cahn at the 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.
