Missy Mazzoli, a composer whose work bridges the worlds of contemporary classical and popular music, has emerged as a significant figure in the evolution of American opera. Drawing on a diverse range of influences—from MTV-era music videos to indie rock concerts—Mazzoli has crafted operas that resonate both musically and thematically in today’s cultural landscape.

Now in her 20s, Mazzoli first encountered opera at the Metropolitan Opera in New York as an 18-year-old Boston University student, when she saw Alban Berg’s "Wozzeck." That experience sparked a fascination with opera’s heightened emotionality, a hallmark she finds echoed in modern pop and rock performances. Alongside her frequent collaborator, librettist Royce Vavrek, she has incorporated inspirations from artists such as Broken Social Scene, Belle and Sebastian, the Swans, and Beyoncé, reflecting their shared commitment to defying strict genre boundaries.

Mazzoli and Vavrek’s latest projects underscore a politically engaged approach to opera. Their upcoming work, "The Galloping Cure," co-commissioned by the San Francisco Opera and slated for premiere in 2027, confronts the city’s opioid epidemic. The opera draws from deeply personal histories—Mazzoli lost two cousins to overdose, while Vavrek lost his father to alcoholism. San Francisco Opera CEO Matthew Shilvock emphasized the timeliness of the production, highlighting the pervasive impact of fentanyl abuse even in the vicinity of the opera house.

Alongside "The Galloping Cure," Mazzoli is preparing a separate major work, "Lincoln in the Bardo," based on George Saunders’s novel about spirits caught between life and death. The opera, delayed by the COVID-19 pandemic, blends supernatural elements with humor and tragedy. Mazzoli’s interest in mortality is further evidenced by her training as a death doula, a role she undertook while caring for her father. She describes this experience as transformative, informing her artistic exploration of death and transition.

"Lincoln in the Bardo" was commissioned by the Metropolitan Opera after Mazzoli met with its leadership in 2018 and proposed the project. Saunders, who had considered his novel’s operatic potential during writing, welcomed the collaboration, noting Mazzoli’s confidence and creative ideas, including the unconventional use of kazoos to capture the work’s whimsical and spectral qualities.

Balancing two major operatic commissions simultaneously, Mazzoli managed distinct creative processes—for one, orchestrating "Lincoln in the Bardo," and for the other, composing the initial piano score for "The Galloping Cure." The works differ widely in style, instrumentation, and vocal approach, reflecting their disparate narratives and settings. Mazzoli explained that opera offers opportunities for unusual vocal effects, particularly fitting for "Lincoln in the Bardo," where the presence of ghosts justifies an expanded sonic palette.

Peers and mentors have recognized Mazzoli’s role in modernizing the operatic repertoire. Pulitzer Prize-winning composer David Lang, who taught her at Yale University, noted her readiness to meet the art form’s contemporary demands by moving beyond traditional templates. Mazzoli herself stresses that opera need not be confined to formal conventions or exclusive audiences, emphasizing inclusivity and accessibility.

Peter Gelb, general manager of the Metropolitan Opera, praised Mazzoli as one of today’s most prolific and important composers, underscoring the necessity of new works to sustain opera’s future. Gelb also highlighted her rare ability to produce pieces that appeal equally to critics, performers, and audiences alike, signaling that "Lincoln in the Bardo" is likely just the beginning of Mazzoli’s continued contributions to the operatic stage.