Migration and Opera Old and New

This article uses Eva Noer Kondrup’s chamber opera Den Rejsende (Copenhagen 2018) to examine the challenges and opportunities provoked by operatic form when attempting create socially responsible theatre. Focusing on how reflects contributes contemporary discourse migration, it examines opera’s unusual performance reception demands differentiate from, for example, spoken verbatim The first considers most common way companies today engage with migration – through productions of existing operas in which decisions are primarily hands directors designers relate mostly interpretation, explores some risks engaging recent revivals repertoire works. It then analyses questions social responsibility new extend structural issues that field composer librettist. as librettist-composer Rejsende, demonstrating potential use non-realist techniques theatre has wrestled, including authority, authenticity authorship, empathy, engagement, identification. production, performed two Swedish singers from non-refugee backgrounds multiple roles, favoured distanciation over “authenticity effects” avoided tensions between giving voice speaking refugees can arise While libretto contained found text, this was historical refugee situations, words Inger Støjberg her role Danish Minister Immigration, Integration Housing. By throwing a spotlight an elected representative, indicated area audience members what is often thought affective theatrical might have influence effecting practical change.