In May 2024, the groundbreaking new opera Ruinous Gods will premiere at Spoleto Festival USA, shedding light on the heart-wrenching trauma of refugee syndrome through a powerful operatic dreamscape.
Co-directed by the talented duo Maya Zbib and Omar Abi Azar, Ruinous Gods is a full-length chamber opera that delves into the psychological impact of displacement on children, specifically focusing on the resignation syndrome. The opera tells the poignant story of Hanna, a mother desperately trying to revive her 12-year-old daughter, Hala, who has fallen into a non-responsive sleep triggered by the trauma of their refugee experience.
The opera’s libretto, written by Lisa Schlesinger, is loosely based on the Greek myth of Persephone and Demeter but is firmly grounded in the real-life testimonies of survivors and families affected by the resignation syndrome. This approach ensures that the opera’s narrative is not only emotionally resonant but also sheds light on the harsh realities faced by refugees around the world.
Layale Chaker’s composition for Ruinous Gods is a masterful blend of Arabic Maqam and Western classical music, incorporating diverse Middle Eastern influences, jazz, and improvisation. Under the baton of conductor Kamna Gupta, the opera’s musicality promises to be a captivating and immersive experience for the audience.
The creative team behind Ruinous Gods is a testament to the opera’s artistic excellence. Joelle Aoun’s scene design, Sarah Leterrier’s costume design, and James Ingalls’ lighting design will undoubtedly create a visually stunning and emotionally charged atmosphere, transporting the audience into the heart of Hanna and Hala’s story.
Ruinous Gods is a co-production and co-commission by Spoleto Festival USA, Opera Wuppertal, and Nederlandse Reisopera, highlighting the international significance of this groundbreaking work. The opera’s premiere at Spoleto Festival USA is a fitting choice, as the festival has a long-standing reputation for showcasing innovative and thought-provoking performances.
The opera’s 1-hour and 45-minute runtime allows for a deep exploration of the characters’ emotional journeys and the complexities of the refugee experience. Audiences can expect to be taken on a rollercoaster of emotions, experiencing both hope and pain as they witness Hanna’s unwavering love and determination to save her daughter from the clutches of resignation syndrome.
Beyond its artistic merits, Ruinous Gods serves as a powerful catalyst for conversations about the plight of refugees and the governmental structural problems that perpetuate their suffering. By bringing this critical issue to the forefront through the medium of opera, Zbib, Abi Azar, and their talented team are not only creating a work of art but also advocating for change and increased awareness.
The premiere of Ruinous Gods at Spoleto Festival USA is a significant event in the world of opera and social justice. With four performances scheduled at the College of Charleston Sottile Theater on May 24, May 27, May 29, and June 1, 2024, audiences will have multiple opportunities to experience this groundbreaking work firsthand.
As the opera world eagerly awaits the premiere of Ruinous Gods, it is clear that this production is set to make a lasting impact. By combining exceptional artistic talent, a compelling narrative, and a socially relevant theme, Ruinous Gods has the potential to not only captivate audiences but also inspire change and empathy for those affected by the refugee crisis.
In a world where the voices of refugees are often silenced or ignored, Ruinous Gods serves as a powerful reminder of the human stories behind the headlines. Through the transformative power of opera, this groundbreaking production will undoubtedly leave a lasting impression on all who witness it, encouraging viewers to confront the harsh realities faced by refugees and to stand in solidarity with those who have been forced to flee their homes in search of safety and a better life.
You can read more about the cast and work here. Tickets are now on sale!
Béatrice Moreau
Comments