Many new operas are met with polite applause, but when Kaija Saariaho’s ‘Innocence’ premiered five years ago, the audience’s reaction was nothing short of awe-inspiring.
At the Grand Théâtre de Provence in France, the initial silence gave way to thunderous cheers. As news of this groundbreaking opera spread, it became clear that ‘Innocence’ — a gripping thriller weaving together themes of violent crime, pain, and trauma — was exceptional in every aspect, from its powerful text and innovative music to its brilliant direction and performances. Reviewers frequently hailed it as a true masterpiece.
For everyone involved in the production, this overwhelming reception was no surprise.
“From the moment I first saw the score, I knew this was something incredibly significant,” shared Susanna Mälkki, who conducted its premiere. Her colleague Simon Rattle, after observing a rehearsal, remarked, “It’s like watching ‘Wozzeck’ being born.”
‘Innocence’ has since graced stages at major opera houses worldwide, with its next stop being the prestigious Metropolitan Opera, opening on April 6. Many of the original artists have remained dedicated to the production, preserving its history and performance nuances – a commitment that became even more crucial following Saariaho’s passing at 70 years old in 2023.
“It somehow just keeps improving,” noted director Simon Stone, whose French production is now coming to the Met. “There was a feeling that the premiere was a singular magical event, but that’s not the case. It continues to grow, evolving and deepening with each performance.”
THERE WAS A FEELING, when Saariaho began conceiving ‘Innocence,’ that it would be her final operatic work. She had entered the genre somewhat later in her career and had confided to friends that the intensity and time commitment were immense. While her debut, ‘L’Amour de Loin’ (2000), was a resounding success with over a dozen productions globally (a rarity for contemporary stage works), she was hesitant to embark on another demanding creative journey after completing several others.
Then came a carte blanche commission from the visionary impresario Pierre Audi, who passed away last year. According to Aleksi Barrière, Saariaho’s son and collaborator, if she were to undertake such a project, she envisioned it as a multilingual “fresco” rich with diverse characters and viewpoints.
In 2013, Saariaho, a native of Finland, approached her compatriot Sofi Oksanen to craft the libretto. Shortly thereafter, Barrière joined the team to oversee the text’s multiple languages and dramatic structure. Over the next few years, the trio met consistently, meticulously developing the opera’s core themes and plot. They ultimately decided on a narrative centered around a shooting at an international school and its profound, lingering aftermath. (To preserve the dramatic impact, they aimed to keep the premiere spoiler-free, and audiences attending the Met performances are encouraged to experience it with minimal prior knowledge.)
Before Saariaho began composing, Mälkki, another Finnish artist known for her deep understanding of Saariaho’s musical language, was brought in to conduct. Simon Stone came on board as director after reading the libretto and sharing a dinner with Saariaho, during which, he recalled, they delved into discussions about “grief and loss, and how to translate those into music.” This led him to envision a production where the school’s architecture acted as a dynamic, changing box, enabling seamless transitions between the opera’s various timelines and even the simultaneous presence of different eras—much like how past trauma can suddenly reassert itself in the present.
Certain cast members, such as Finnish folk musician Vilma Jää and avant-garde soprano Lucy Shelton, joined early on, allowing Saariaho to tailor parts of the composition to their unique talents. While the roster of principal singers is extensive, the score masterfully distinguishes each role, drawing inspiration from the distinct contours of different languages—the rich, almost percussive ‘R’ of French, for instance, or the rhythmic syllabic stresses of Czech. Mälkki emphasized that the opera offers immense characterization and storytelling through its sound, calling it ‘a musical mise-en-scène.’
Shelton, a veteran of every iteration of Stone’s production, had previously performed in Saariaho’s 2014 work ‘Bosun’s Cheer,’ which featured Sprechstimme, a unique speak-singing technique. She envisioned this same technique for the teacher’s role in ‘Innocence.’ Upon receiving the score, she was simply told, ‘You’ll know what to do with it.’
All preparations were in full swing for the opera’s summer 2020 premiere at the Aix-en-Provence Festival in France. A series of revivals was scheduled for the following year, but one by one, they were all canceled as the coronavirus pandemic brought the performing arts world to a halt that March.
Despite the widespread shutdowns, Audi successfully advocated with the local government in Aix for ‘Innocence’ rehearsals to continue, albeit in isolation and without an orchestra. Stone reflected on the surreal experience: “Almost no one was working, and there was profound uncertainty in the arts community. Yet, we were granted this special permission. It felt almost absurd, as we couldn’t even fathom when large audiences would gather in a theater again.”
Stone diligently worked on the staging, and Saariaho occasionally joined the singers for rehearsals. However, Shelton, an American, faced travel restrictions and was almost removed from the production. “Kaija, in her quiet yet powerful manner, championed my involvement,” Shelton recounted, ensuring her return.
By 2021, Shelton was back onstage as rehearsals for ‘Innocence’ resumed. Audi, Stone affirmed, continued to “push for it to reach its fullest potential.” A year behind schedule, the opera finally debuted before an audience in Aix. Zachary Woolfe, critic for The New York Times, noted at the time that it “would have been the premiere of the year even in a normal season,” a sentiment amplified by an audience yearning for a truly significant live opera after months of deprivation.
SAARIAHO MADE A POIGNANT APPEARANCE during the curtain call, accepting the thunderous applause from her wheelchair. While publicly attributed to a fall, those closest to her knew she was battling the brain cancer that would claim her life two years later.
Just weeks before her passing, ‘Innocence’ opened at the Royal Opera House in London. Saariaho managed to attend, even making an appearance at the after-party. Shelton recalled, “She wasn’t really conversing with anyone; she sat quietly by herself. We all approached her to hold her hand and offer our gratitude. Though no Champagne was served, she still received a glass.”
The subsequent revival of ‘Innocence,’ presented at the Dutch National Opera in Amsterdam, marked the first time the production went on without Saariaho. The company honored her memory by displaying her photographs throughout the theater. Shelton described the experience as deeply emotional, a sentiment she feels with every performance. She noted the remarkable camaraderie the show inspires among cast members across different cities, and how certain moments in the score still send shivers down her spine.
While Barrière’s main contributions to ‘Innocence’ were complete by its Aix premiere, Saariaho’s death led him to assume partial responsibility for her estate. He now oversees her stage works, while his father, composer Jean-Baptiste Barrière, and sister, conductor Aliisa Neige Barrière, manage other musical aspects. Aleksi described this situation as “a very peculiar position,” acknowledging that while they are family, they also collaborated with Kaija, each approaching her work from distinct perspectives.
In managing Saariaho’s operatic legacy, Barrière strives to uphold his mother’s philosophy: “open to collaboration, yet very precise about her artistic vision,” he explained. Her distinctive style can be passed on to new generations of musicians through recordings and guidance from those who worked closely with her. However, maintaining close oversight is increasingly challenging as Stone’s original production of ‘Innocence’ is no longer the sole interpretation, with fifth and sixth productions soon to open in Germany.
Mälkki expressed feeling an even greater responsibility now to share her profound understanding of Saariaho’s music, calling it “a task of honor and immense responsibility.” Shelton, too, serves as a valuable resource for her fellow cast members. For example, when soprano Claire de Sévigné first performed the Mother-in-Law role (which she will reprise at the Met) in San Francisco two years prior, Shelton advised her to perform the score’s glissandos, or pitch slides, with a straight tone. This technique, Shelton explained, was crucial for achieving the stark emotional intensity Saariaho envisioned.
New artists joining Stone’s Met production, including acclaimed mezzo-soprano Joyce DiDonato, will benefit from the invaluable expertise of Shelton and Mälkki. They can offer insights into Saariaho’s unique musical language or share anecdotes from the opera’s history. One such story involves Shelton finding herself in a Helsinki sauna with attendees of a gun conference. She shared with them that she portrayed a teacher who had lost her students to gun violence, sparking an unexpected conversation.
Such poignant discussions are undoubtedly anticipated at the Met, especially in a country where school shootings remain a deeply felt and urgent issue. However, both the opera’s creators and its performers emphasize that an overemphasis on the gun violence aspect risks overshadowing the work’s broader message.
“This opera wouldn’t succeed if it felt exclusively like a commentary on gun access or merely about school environments,” Stone explained. “Rather, its power lies in its universal exploration of teenage mental health and school settings as microcosms of larger human experience. Anyone who has grappled with grief or the anguish of not understanding their child will find profound meaning here. That, ultimately, is what makes it both beautiful and timeless.”