Missy Mazzoli, a prominent composer widely recognized as one of her generation’s leading voices, is set to make history at New York’s Metropolitan Opera with the upcoming premiere of her opera "Lincoln in the Bardo." Based on George Saunders’ 2017 Booker Prize-winning novel, the production is scheduled to open next week, marking the first time in the Met’s 143-year history that an opera by a woman has been commissioned and premiered solely by the company.
Mazzoli, 45, reflected on the barriers women composers continue to face in the classical music world, especially in large-scale works. “Women still face barriers, especially in big, ambitious works. They’re constantly asked to show proof that they’re not a risk,” she said during rehearsals. Despite these challenges, her career has flourished with her music performed by leading orchestras and opera companies worldwide, including a recent acclaimed premiere of her opera addressing the U.S. opioid crisis, *The Galloping Cure*, at the Edinburgh International Festival in August.
Her journey into music began at the age of seven, sparked by a piano her parents bought at a flea market, although neither parent was musically trained. Over time, music became both a personal refuge and a lens through which she explored broader themes including poetry, history, and politics. Mazzoli’s eclectic musical tastes encompass a broad range of genres from punk to hip-hop and electronic music, which she believes embody some of the most innovative and experimental sounds today.
Collaborating closely with librettist and longtime friend Royce Vavrek, Mazzoli selects operatic subjects that often incorporate elements of magic and surrealism, aiming to provoke political and social conversations. Previous works include *Song from the Uproar* (2012), inspired by gender-defying writer Isabelle Eberhardt, and *Breaking the Waves* (2016), adapted from Lars von Trier’s film. Their latest work, *Lincoln in the Bardo*, fits this mold, combining a surreal setting—between death and rebirth—with a story about a grieving President Abraham Lincoln visiting the cemetery where his son Willie lies, set during a fractious period in American history.
After the Met commissioned the opera in 2018, Mazzoli and Vavrek sought Saunders’ approval. Meeting him in New York, Mazzoli described their encounter as a dream come true, praising Saunders’ openness. Saunders, in turn, has spoken highly of Mazzoli’s work, calling her “one of the great geniuses of our time” and describing the opera as a masterpiece.
Musically, Mazzoli’s style blends tonality and atonality to create emotionally charged harmonies that challenge traditional structures. She emphasizes that operatic storytelling demands heightened expression, noting that even the simplest opera is not realistic but heightened and symbolic.
Recognizing the need to engage contemporary audiences, Mazzoli and Vavrek emphasize that their operas must be both meaningful and entertaining. “Entertainment needs to not be a bad word,” she said, underscoring the importance of connecting with audiences, especially as the Met faces financial pressures and the challenge of selling 36,000 tickets for the production.
To broaden access and attract new viewers, New York Mayor Zohran Mamdani recently launched an “Opera for All” initiative, offering 70,000 free Met tickets via a lottery targeted at first-time opera-goers. Mazzoli expressed strong support for the program, hoping the opera would inspire many to experience the Met for the first time and return in the future.
The *Lincoln in the Bardo* run at the Metropolitan Opera is set for October 19 through November 14.