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Colin’s Cultural Corner
Innocence - Kaija Saariaho
Royal Opera
18/4/23
Last night I saw the opera, Innocence, at Covent Garden. It’s about secrets, lies, guilt, a wedding and a mass shooting. Light and frothy it ain’t.
We open to see a two levelled cuboid set with a wedding party on the ground floor and a school above. The cube revolves revealing other spaces, the kitchen, classrooms, store cupboards, toilets, outdoor space, a balcony.
The son of a Finnish-French family is getting married to an orphan from Bucharest. There aren’t many guests present.
A waitress, called in at short notice to replace a colleague who’s gone home sick, recognises the family as that of the boy who, ten years previously, entered the international school and shot a number of children and teachers.
What follows is a timeline jumping series of revelations about how the families have lived their lives consumed by grief, how some have built walls of lies to protect themselves from unwelcome attention, and in flashback passages we see the atrocity unfold.
There are lies, truths, passions, fears, losses and warped perceptions of blame and responsibility revealed over the course of the hour and forty five minute production.
It’s cathartic. It’s powerful. It’s like nothing I’ve ever seen before.
Innocence - Kaija Saariaho
Royal Opera
18/4/23
Last night I saw the opera, Innocence, at Covent Garden. It’s about secrets, lies, guilt, a wedding and a mass shooting. Light and frothy it ain’t.
We open to see a two levelled cuboid set with a wedding party on the ground floor and a school above. The cube revolves revealing other spaces, the kitchen, classrooms, store cupboards, toilets, outdoor space, a balcony.
The son of a Finnish-French family is getting married to an orphan from Bucharest. There aren’t many guests present.
A waitress, called in at short notice to replace a colleague who’s gone home sick, recognises the family as that of the boy who, ten years previously, entered the international school and shot a number of children and teachers.
What follows is a timeline jumping series of revelations about how the families have lived their lives consumed by grief, how some have built walls of lies to protect themselves from unwelcome attention, and in flashback passages we see the atrocity unfold.
There are lies, truths, passions, fears, losses and warped perceptions of blame and responsibility revealed over the course of the hour and forty five minute production.
It’s cathartic. It’s powerful. It’s like nothing I’ve ever seen before.