In Lyric Opera's ‘The Listeners,' one little sound drives a woman to the edge
Some describe it as a giant, idling engine. Some say it's like the whirr of a generator. Others swear it comes straight from the center of the Earth.
About 2% of the global population reports hearing what researchers and conspiracy theorists alike call 'the Hum.' The real-life phenomenon, which is still unexplained, inspires a new opera at Lyric Opera of Chicago from March 30 to April 11: 'The Listeners,' by composer Missy Mazzoli and librettist Royce Vavrek.
The opera follows suburban schoolteacher Claire Devon (Chicago-born soprano Nicole Heaston, in her house debut), who is plagued by the Hum. Over the course of the opera, Claire learns she's not alone. She joins a cultlike community of 'Listeners,' a decision that alters the course of her life.
The opera's scenario was devised by writer Jordan Tannahill, who has since adapted the story into a novel and BBC miniseries. After pandemic delays, 'The Listeners' debuted in 2022 at the Norwegian National Opera. Productions by co-commissioners Opera Philadelphia and, now, Lyric have followed.
At the time she connected with the Tribune, Mazzoli — also the Chicago Symphony's composer-in-residence from 2018 to 2021 — had just arrived in Chicago from Essen, Germany, where 'The Listeners' is enjoying a second brand-new production. Not bad for an opera that's barely been in the world for two and a half years.
The following conversation has been condensed and edited for clarity and flow.
Q: Over this opera's short lifespan, it's already inspired two different productions. What was it like to experience it with a totally new vision in Essen, and how did it differ from the production that we're going to see here in Chicago?
A: Besides some Zoom meetings with the dramaturg and director, I was not part of making the production in Germany at all. It was really surreal to sit down and not know what was going to happen. The production is much more abstract, symbolic and psychological. For example, the house of the protagonist, Claire, is just this big neon sign that says 'ANGER' in huge, 10-foot-tall letters.
At one point in the German production, a character came out into the audience waving a very realistic gun before a fake SWAT team arrested him in the aisle. That would never happen in America.
I guess (the short lifespan) sounds quick, but the thing is, 'Listeners' was really delayed because of the pandemic. It was supposed to premiere in Philly in 2021; instead, they pushed it back by two years and Philly had to go second. And I've written one and a half operas since 'The Listeners' — I'm onto other crazy stuff. So, it's interesting.
Q: Those years in question have been eventful, to say the least. Are there parts of the work you're hearing or seeing differently now?
A: I hate to say this, but you can't get away from it: The piece was always in a small, small part a reaction to the first Trump administration. One of the major themes of the work is what happens when a charismatic leader manipulates a population's vulnerabilities and uses them to his or her own ends. Unfortunately, that has new relevance.
There's also a line (from) back in 2022 where Claire is singing about all of her lost potential, which is another big theme of the work. She has this line where she says, 'I could have been the president of the goddamn United States.' Now, obviously, to see a Black woman standing up there singing that. … It used to be funny. It's not funny anymore.
Q: Claire taps into her inner 'wildness' in the opera. That, plus the remote desert setting, reminds me a bit of 'Proving Up.' ('Proving Up,' Mazzoli's 2018 opera about American homesteaders, was supposed to be performed at Lyric in January 2022 but was canceled by a rise in COVID.) Both operas explore the edges of civilization, and the things that can happen in that liminal space. Do you see similarities between those projects?
A: I think of both as being part of an American trilogy of operas. The first one is 'Proving Up,' the second one is 'The Listeners,' and the third is 'Lincoln in the Bardo' (Mazzoli's forthcoming adaptation of the George Saunders novel premieres at the Metropolitan Opera in fall 2026.) They all look at how people relate to each other in American society.
There's one similarity I thought of just now, which is the way that I write the villains in both 'Proving Up' and 'The Listeners.' The Sodbuster character in 'Proving Up' and Howard Bard, the leader of this group in 'The Listeners,' both sort of take up too much space. Everywhere else, it's a very fast-paced opera. And then Howard comes out, and the whole world needs to breathe with him. Same thing with the Sodbuster — he takes his damn time. Their control is what I wanted to convey.
Q: The other two operas in that American trilogy are adaptations of existing stories — but then again, opera is an art form that's very friendly to adaptation. What made you and Royce Vavrek, your librettist, want to spring for an original story this time?
A: We thought of that right away. So, when we contacted Jordan, our assignment was, 'What story would you tell first on the operatic stage?' Certainly, the sonic element of the Hum came out of that prompt.
1 of 3
Composer Missy Mazzoli worked with librettist Royce Vavrek to create "The Listeners" as a co-commission for Lyric Opera of Chicago, Norwegian National Opera and Opera Philadelphia. (Caroline Tompkins)
Q: The Hum… How is it conveyed in your score?
A: That was a big challenge. I knew I wanted the audience to hear the Hum at some point, but I decided I wanted them to hear it very far into the opera. You spend the first bit of the opera thinking these people are crazy, then you hear it.
The question is, in a contemporary opera full of strange sounds, how do you create a sound where people are like, 'Oh, that's the Hum'? The answer is through electronics — it's the first electronic sound we hear.
I worked with a great sound engineer, Daniel Neumann, who helped me with the surround-sound elements of it. There's no bad seat for the Hum. But every seat in the house has a different experience of it, which is also important.
It's not just about hearing the sound of the Hum: It's about feeling the pressure that these Listeners feel. It's a very intense sound that swirls around and hopefully has an oppressive effect.
Q: The sound is depicted as crazy-making, for lack of a better word. The act of going mad — and specifically women going mad — is something opera historically loves to depict. In what ways were you thinking about gender in this opera, if at all?
A: I think gender plays into the cult dynamics a lot. So does this other, parallel theme of squashed potential.
That idea was based on a lot of the women in my family. My mom always wanted to be an architect. But she was told she could either be a nurse or a teacher, so she was like, 'I guess I'll be a teacher.'
Her strategic brain would have made her a great architect, but she filtered that skill into other things. Like, she will kick your ass at cards and chess. It also comes out in darker ways, like frustration and latent anger.
That experience of feeling like you're not living the life you want to lead, despite everyone around you saying your life is great, you have this great family, this great job. … I see all the women in my family feeling that in a very strong way. I tried to portray that bubbling up in Claire.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Newsweek
10 hours ago
- Newsweek
Woman Returns to Dog Left Home Alone—What She Finds Leaves Her Sobbing
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. A 5-month-old puppy with a case of separation anxiety left an owner sobbing in horror with what she discovered after returning home. Shanna White, also known on TikTok as @theregoshan1, has a red-nosed pit bull and German shepherd mix puppy named Ja'Dioree Scarlett, whom she's owned since the dog was only 5 weeks old. Ja'Dioree Scarlett, like many dogs, experiences separation anxiety when alone. Dogs with separation anxiety become extremely stressed and anxious, often causing them to become destructive. However, White said her puppy has never shown signs of being stressed while home alone. Ja'Dioree Scarlett never ruined the house. But White recently came home to a surprising scene after being gone for about an hour. She returned home to discover seemingly every last inch of the place destroyed. The blinds were chewed off. Items were thrown around. Pee on the bed. It became a headache for White after she was already under a lot of stress. She said this situation made it "worse." In her June 17 TikTok video, White walked around her home revealing more and more damage. She wrote in the caption that her pup "ate" her home. She cried in disbelief, wondering what had happened to her house after leaving it pristine and her pup calmly relaxing. "I know she has separation anxiety, but I didn't know she was that smart to open my room door," White said. "The only thing going through my mind was my house and how would I pay for all of it." Screenshots from a June 17 TikTok video of a 5-month-old pit bull and German shepherd mix puppy innocently behaving while owner was home. Screenshots from a June 17 TikTok video of a 5-month-old pit bull and German shepherd mix puppy innocently behaving while owner was home. @theregoshan1/TikTok Within three days of posting, the TikTok video reached over 1.2 million views and 105,000 likes. Viewers were left speechless over this dog's "field day." "She had a funky good time," wrote one person. Another added: "Peeing on my bed would've sent me over the edge." However, several users flooded the comment section with their concerns about this pup's behavior. They ridiculed the owner: "I blame you cause why you left that toddler out." Pet parents are often divided on whether or not to crate train. Proponents argue crates provide dogs a safe space to go when they're feeling stressed, scared or tired. It keeps them out of trouble. But others will say it creates unwanted emotional stress, especially when left for extended periods of time. Do you have funny and adorable videos or pictures of your pet you want to share? Send them to life@ with some details about your best friend, and they could appear in our Pet of the Week lineup.
Elle
10 hours ago
- Elle
‘28 Years Later' Is the Zombie Sequel You Didn't Know You Needed—Here's How to Watch
Every item on this page was chosen by an ELLE editor. We may earn commission on some of the items you choose to buy. Over two decades after 28 Days Later redefined zombie horror, director Danny Boyle and writer Alex Garland return to their virus-ravaged world with 28 Years Later—the first in a newly planned trilogy. The $60 million sequel sees the Rage Virus still festering on British soil, while the rest of the world has moved on. Opening in theaters today, the film explores not just the ongoing fight for survival, but also the evolution of both the virus and humanity. Set on the remote Holy Island off England's northeast coast, 28 Years Later centers on 12-year-old Spike (Alfie Williams). who has never known a world beyond the fortified pathway linking his small community to the quarantined mainland. On his birthday, his father Jamie (Aaron Taylor-Johnson) takes him across the water for a harrowing rite of passage—only to find that the infected have evolved. Some crawl; others, now dubbed Alphas, lead organized hunting packs. The film also stars Jodie Comer as Isla, a housebound mother. 'There are moments that feel incredibly heightened—you're out of breath, facing elements of hysteria—but it's brilliant,' Comer told the BBC, describing the intensity of filming without CGI. While 28 Years Later doesn't revisit the immunity storyline from 28 Weeks Later, it does mark the beginning of a new arc that will stretch across two more films. Garland has already penned the second installment, 28 Years Later: The Bone Temple, which is directed by Nia DaCosta (Candyman) and due next year. Boyle, who hopes to return for the trilogy's conclusion, confirmed to Collider that Cillian Murphy's Jim—last seen alive in 28 Days Later—will appear in the second and play a major role in the third. Not yet. The film is currently playing in theaters, with a streaming release date to be announced. Given Sony's distribution history, the title is likely to become available via digital purchase first, followed by streaming on one of its affiliated platforms—though no official plan has been confirmed. In the meantime, you can revisit the earlier films in the franchise: 28 Days Later is now available to stream on Pluto TV, and 28 Weeks Later is on Hulu and Tubi. Get Tickets
Yahoo
10 hours ago
- Yahoo
Danny Boyle: Slumdog Millionaire was cultural appropriation
Danny Boyle has said his hit film Slumdog Millionaire was cultural appropriation. The British director, who also made the films Trainspotting and 127 Hours, said that he was proud of Slumdog Millionaire, but that 'you wouldn't even contemplate doing something like that today'. The 2008 Oscar-winning movie, which Boyle directed, follows the story of a boy from the slums of Mumbai who is one question away from winning the Hindi version of Who Wants to Be a Millionaire?, before being arrested on suspicion of cheating. It was shot in Mumbai, partly in Hindi, and used a local crew, but the award-winning director said he couldn't make it today. He would instead be 'looking for a young Indian filmmaker' to direct the picture, because his directing of the film was 'cultural appropriation'. He told The Guardian on his press tour for the horror film 28 Years Later: 'That kind of cultural appropriation might be sanctioned at certain times, but at other times it cannot be. It wouldn't even get financed. 'We wouldn't be able to make that now. And that's how it should be. It's time to reflect on all that. We have to look at the cultural baggage we carry and the mark that we've left on the world.' He said it was a 'flawed method' because it was filmed by 'outsiders'. 'At the time it felt radical. We made the decision that only a handful of us would go to Mumbai. 'We'd work with a big Indian crew and try to make a film within the culture. But you're still an outsider. It's still a flawed method. Even if I was involved, I'd be looking for a young Indian filmmaker to shoot it.' The film premiered at the 2008 Telluride Film Festival and won eight Oscars at the 2009 Academy Awards, including those for best picture and best director, as well as several BAFTA awards and Golden Globes. It was also a box office hit, making $378 million worldwide on a reported $15 million budget. Speaking about his directorial choices in the interview, Boyle explained: 'I value the popular audience. I believe in popular entertainment. 'I want to push the boat out, but take the popular audience with me.' Elsewhere, he discussed his direction of Isles of Wonder, the opening ceremony of the 2012 London Olympics that featured Daniel Craig as James Bond and the late Queen Elizabeth II. The film, which was a celebration of British culture, also featured the National Health Service, Shakespeare, the Sex Pistols and Windrush migrants. However, Boyle said his 'biggest regret' was not featuring the BBC in it more, saying if he were to do it again he would 'big up' the 'precious' national broadcaster. He said: 'My biggest regret was that we didn't feature the BBC more. I was stopped from doing it because it was the host broadcaster. 'Every other objection, I told them to go f--- themselves. But that one I accepted and I regret that now, especially given the way that technology is moving. 'The idea that we have a broadcaster that is part of our national identity, but is also trusted around the world and that can't be bought, can't be subsumed into Meta or whatever, feels really precious. 'So yeah, if I was doing it again I'd big up the BBC big time. Everything else I'd do exactly the same.' Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
