Composer Missy Mazzoli is marking a significant moment in contemporary opera by presenting two world premiere productions on separate continents within a span of 10 weeks. In September, her opera "The Galloping Cure" debuted at the Edinburgh International Festival in Scotland, followed by the October opening of "Lincoln in the Bardo" at New York’s Metropolitan Opera. Both works are collaborations with librettist Royce Vavrek and reflect Mazzoli’s interest in blending topical themes with innovative musical approaches.

At 45, Mazzoli has rapidly emerged as a leading voice in modern opera. "Lincoln in the Bardo" is historically notable as the Metropolitan Opera's first world premiere written by a woman, and Mazzoli is among the very few female composers commissioned by the Met. The opera, based on George Saunders’s 2017 novel, explores President Abraham Lincoln’s grief following the death of his son, set against the backdrop of the American Civil War. The narrative addresses themes of political division, which critics and artists have noted as resonant with contemporary societal tensions in the United States.

In contrast, "The Galloping Cure" adapts Franz Kafka’s "A Country Doctor" into a darkly humorous and unsettling allegory on addiction, reflecting the current opioid crisis. Co-commissioned by Scottish Opera and the San Francisco Opera, this piece uses experimental sound elements—including electronic dance beats—to underscore its themes. The opera’s subject matter connects with Mazzoli’s personal experiences, as two of her cousins died from drug overdoses, while librettist Vavrek’s father struggled with alcoholism.

Mazzoli’s music is recognized for its sonic diversity, combining tonal and atonal elements alongside unconventional instruments like kazoos—featured prominently in "Lincoln in the Bardo." The use of such sounds contributes to the operas’ dramatic storytelling, including supernatural elements fitting for the ghostly characters depicted in "Lincoln." Performers involved in the productions describe Mazzoli’s style as blending accessibility with complexity, appealing both to traditional opera audiences and newcomers.

Critical reception has been enthusiastic. Reviews for "The Galloping Cure" praised its originality, while "Lincoln in the Bardo" has been lauded for its emotional depth and inventive orchestration. Industry leaders, such as the Metropolitan Opera’s music director Yannick Nézet-Séguin and general manager Peter Gelb, view Mazzoli as part of a new generation transforming opera by integrating influences from pop, film, and indie music scenes. They acknowledge her ability to engage diverse audiences and contemporize the art form.

Mazzoli herself sees her work as a response to opera’s perception as an outdated or elitist genre. She emphasizes that opera can accommodate both traditional formal presentations and more experimental or popular approaches. Her personal background includes a lifelong engagement with music and a unique interest in end-of-life care—she is a trained death doula, a role that informs the themes of mortality present in her recent operas.

Balancing the creation of two operas simultaneously was a demanding process, Mazzoli noted, but one made manageable by approaching each work’s composition distinctively. The success of these premieres signals a broader shift in opera, as companies seek new works that speak to contemporary issues while expanding their audience base.