Selma Jezková: Royal Danish Opera in NYC

Photograph (c) Miklos Szabo

Poul Ruders' 2010 opera, Selma Jezková, had its U.S. premiere on Friday; its single New York performance occurred as part of the Lincoln Center Summer Festival. Commissioned in the last season of Kaspar Holten's tenure as the director of the Royal Danish Opera, we saw it in Holten's production and with the same singers in the principal roles. And it was searing. There is much in the title role reminiscent of the opera repertory's most familiar tragic heroines: Selma is a passionate woman both willing to undertake a gesture of self-sacrifice, and seen as cruelly sacrificed to an unforgiving society. But Ruders knows this is a complicated business. Selma is not without agency, and whether her martyrdom is moral or misguided is open to discussion. One thing is certain: there is no redemption in her death, or after it.

The opera takes its inspiration from Lars von Trier's 2000 film "Dancer in the Dark," but its musical world is its own, and the drama it presents, though revolving around the same events, also has a substantially different emphasis. (An interview with Ruders explains further about the work's genesis and its relationship to Von Trier's work.) This was my first exposure to Ruders' operatic works--Really Shameful Confession--and I was struck, and moved, by the yearning, tragic dissonances of the score; by the strong vocal characterization; and by the feeling of dramatic inevitability communicated through the music. Trimmed and telescoped from the events of the film, Ruders' work depicts an atmosphere and society much more hostile than von Trier's, brilliantly evoked and criticized in Holten's production. I left feeling convinced that society is broken... but that with works this smart, opera, at least, should have an exciting future.