Composer Missy Mazzoli is marking a significant milestone in contemporary opera by presenting two world premieres on separate continents within a span of 10 weeks. Last month, her opera "The Galloping Cure" debuted at the Edinburgh International Festival, a collaboration with Scottish Opera that garnered widespread critical acclaim. Shortly after, Mazzoli returned to New York to prepare for the premiere of "Lincoln in the Bardo" at the Metropolitan Opera, set to open in October.
At 45 years old, Mazzoli has quickly become a prominent figure in modern opera, known for her inventive musical language and integration of diverse sonic elements such as kazoos and electronic dance beats. Both operas feature librettos by her longtime collaborator Royce Vavrek and address timely social and political themes. "Lincoln in the Bardo," adapted from George Saunders’s 2017 novel, explores the Civil War era presidency of Abraham Lincoln while drawing parallels to today’s divisive political climate. Meanwhile, "The Galloping Cure" reimagines Kafka’s "A Country Doctor" to confront issues surrounding addiction, serving as an allegory for the ongoing opioid crisis.
Mazzoli has emphasized her desire to challenge traditional operatic conventions and to stimulate thoughtful dialogue among audiences and critics alike. Speaking from Edinburgh’s International Festival headquarters, she noted, “I really want my work to spark a conversation... I just want people to come out asking more questions than they have answers.”
Her achievements with "Lincoln in the Bardo" are particularly noteworthy as it marks the first world premiere by a female composer in the Metropolitan Opera’s history. Mazzoli is one of only two women to have received commissions from the Met, with the other being Jeanne Tesori for the opera "Grounded." Anthony Roth Costanzo, general director of Opera Philadelphia and performer in "Lincoln," remarked on the significance: “I’m not surprised at all it’s her — I’m surprised it took so long.” He added that the Met’s growing commitment to commissioning new works aligns well with Mazzoli’s distinctive voice.
Mazzoli’s work represents a shift in opera, countering perceptions of the art form as outdated or elitist. Yannick Nézet-Séguin, music director of the Met, praised her ability to attract new and younger audiences by blending elements of film and popular music with traditional operatic form. Soprano Christine Goerke, cast as the Reverend in "Lincoln," highlighted Mazzoli’s willingness to cross musical boundaries, saying her compositions offer something for both traditional and contemporary opera listeners.
Born and raised in Lansdale, Pennsylvania, Mazzoli demonstrated an early affinity for music, nurtured by a family of educators. Over the past decade and more, she has crafted seven operas, establishing herself as a leading composer shaping the future of the genre.