9 minute read
Milo Rau: Love Letter to Authenticity
Yulia Lem / United Nations
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.
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 environmental 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 often overshadowed, overlooked, or simply forgotten,” he notes.
The conversation sharpens as the inherent elitism of opera is questioned. Rau unapologetically implicates the elites in the working conditions of the Congo mining district, making his love letter a call for change in the very heart of democracy. ‘Justice’ exposes uncomfortable truths about Swiss corporate involvement in the Congo, emerging as a lyrical challenge to the audience’s complacency regarding environmental and social issues.
To me, a witness of despicable violence since my birth until this very day, this is not uncomfortable, however. I have been living this reality all my life, as a humanitarian worker and a human rights advocate, from Haiti to the Congo itself. I want to be proven wrong. I yearn for Milo Rau to open my shell and put my heart back on the sleeve where it once was.
Geneva, with its diplomatic cadence and business resonance, serves as an unnerving backdrop for ‘Justice.’ A deliberate choice no doubt, as Rau flirts with the unique setting to add an extra layer of intrigue.
“Geneva is a cultural bridge, where echoes from the Congo fuse with the cosmopolitan heartbeat of the city. ‘Justice’ is a rendezvous with today’s reality in the heart of international diplomacy, big money, human rights advocacy, and corporate giants,” explains Cahn.
A critical theme emerges: Is ‘Justice’ a genuine servant of the Democratic Republic of Congo or an exploitative masterpiece? Rau’s preference for entertainment over enlightenment may raise eyebrows, but he clarifies, “Justice as an opera. Not justice as a concept.” The meta-commentary delves into the tragic failure of real justice, becoming the heartbeat of ‘Justice’—a narrative that critiques its own depiction. Real justice. But what is it? As someone who started her career at the Peace Palace in The Hague more than two decades ago, I craned my neck to see her every time I climbed the imposing stairs. There she was, a blindfolded statue, holding an uneven balance in one hand and a punishing sword in the other, while choking a snake with her foot. The snake who is the symbol of healing in medicine, the holy grail of justice for our body and soul.
Rau’s commitment to authenticity shines through as he incorporates African singers into the ensemble, their voices becoming instruments in the grand opera of truth and romance.
“The choice of singers is deliberate. ‘Justice’ is a cultural mesh of narratives that transcends geographical and artistic boundaries. Bringing African voices to the forefront adds a layer of authenticity and inclusivity to the lyrical storytelling.”
The choice of Fiston Mwanza Mujila as the librettist for ‘Justice’ is a strategic and artistically rich decision that adds further depth and authenticity to the project. Fiston, a renowned Congolese writer and poet, brings a unique perspective rooted in the cultural and social nuances. His involvement ensures that the opera embraces the diverse voices and experiences of the people intimately connected to the subject matter.
To amplify the romantic narrative, ‘Justice’ embraces the documentary opera format. Video materials, witness statements, and other evidence become strokes in Rau’s love letter to authenticity.
“In a world where truth is often obscured, a documentary opera feels like the most honest medium. It is an invitation for the audience to witness the unfiltered truth. The stage is a canvas, and every piece of evidence is a stroke of authenticity,” says Rau.
Rau’s passion for ‘Justice’ echoes in every chord he strikes while appealing for societal change.
“The meta-commentary, the untold tales, the real-world romance—all converge into a fabric that resonates on the edge, asking the audience to sway with the power of opera in amplifying the heartbeats of the unheard.” But does evil not yearn for dark but intimate and beautiful portrayals of the deepest hurt it causes? To some, its heart would beat faster, tuned to the beauty of ruin, pain and suffering that permeate its core.
As the curtain falls on the discourse, ‘Justice’ emerges more and more as a plea for the audience to engage in a dance of introspection, to explore the untold stories and search for truth. Rau’s vision becomes a guiding star—a call for social change through the powerful medium of a romance-infused documentary opera.
But could it be that the impact of ‘Justice’ is limited to the theater, with little real-world resonance?
“For me, ‘Justice’ is a catalyst for awareness and activism. Art, in this case, becomes a conduit for empathy, reflection, and, ideally, societal mobilization towards addressing pressing social and environmental issues,” confesses Rau.
The concern about limited real-world consequence does not account for the intricate interplay between art and societal transformation. The impact of ‘Justice’ may not be immediately measurable, but the seeds of change it intends to plant have the potential to sprout over time, influencing perspectives and policies. Or would it instead nourish evil, which will seek more romantic portrayals by the entrancing voices of justice as Rau see it?
Rau reminds that ‘Justice’ is not a standalone project. It is part of an ongoing narrative that began long before the Congo Tribunal. Each production contributes to a broader trajectory of social and cultural change.
For Rau, the enduring resonance of ‘Justice’ lies in its capacity to prompt reflection, evoke empathy, and contribute to the ongoing discourse that shapes our understanding of complex issues. The theater, in his view, is not an isolated realm. It is a sounding board for broader engagement, and the true consequences of ‘Justice’ may unfold in the continuing dialogue and action that it inspires. It is hard to argue with that; the true consequences that are yet to emerge.
In the realm of arts, ‘Justice’ feels like a therapeutic discord, a lyrical tonic for societal ailments. The harmony in its discord challenges, teases, and respects both tradition and transformation. The pursuit of truth, the embrace of authenticity, and the intricate dance between reality and representation all converge into a timeless symphony that may – or rather, will - resonate far beyond the GTG stage.
Let us all, the elite and the eclectic, contemplate, admire, and doubt the envelope of Rau’s love letter to authenticity just a tiny bit longer. Touch the wrinkled edges, bearing the traces of the long journey. Breathe the syllables of unfamiliar words. Mutarule. Twangziga. Bisié. Bukavu. The seal will be broken on 22 January. And then … we will feel.
