Theaters are never truly dark. In between performances, a simple floor lamp known as a ghost light is placed onstage and switched on. This tradition serves as either a practical safety measure or a way to ward off spirits, depending on interpretation.
As audience members entered the auditorium of the Dutch National Opera for the world premiere of “We Are the Lucky Ones,” they encountered a ghost light that symbolized both artifice and the supernatural. The opera features eight singers who share their secrets, regrets, and worries for the future in a purgatorial space.
Based on interviews with approximately 80 individuals born between 1940 and 1949, “We Are the Lucky Ones” combines music by Philip Venables and a libretto by Ted Huffman and Nina Segal. The work presents a compassionate and artful portrait of a generation, reflecting on their experiences and the complexities of their lives.
Venables and Huffman, recognized for their layered storytelling in previous works, focus on the middle class in this opera, which draws from the golden age of prosperity following World War II. The creators aim to connect broad historical themes through personal narratives, despite the challenges of encapsulating such depth within the opera's 100-minute runtime.
The libretto moves swiftly through over 60 scenes, performed by a diverse cast of eight singers. The characters express shared experiences such as home ownership, vacations, and mortality, elevating everyday life to poetic heights. The production challenges traditional opera norms, incorporating contemporary elements like the use of “Total Eclipse of the Heart” for the curtain call.
Spanning from 1940 to the present, the opera reflects on significant historical events and personal milestones. Characters grapple with work, politics, and existential concerns, articulated through a straightforward yet poignant libretto that resonates with audiences.
The cast, alongside the Residentie Orkest, delivered a well-rehearsed performance, showcasing their versatility and skill. Notable performances included tenor Miles Mykkanen and bass Alex Rosen, who effectively conveyed the emotional weight of their characters.
Directed and designed by Huffman, the production features minimal staging, allowing for easy adaptation to various venues. Nostalgic visuals, generated by A.I., enhance the unsettling atmosphere, while the lighting creates an eerie ambiance reminiscent of classic cinema.
Venables’s score blends various musical styles, contributing to the opera's unique character. The music often reflects the themes of the libretto, capturing the duality of joy and sorrow inherent in the human experience.
As the opera concludes, the music shifts to a more subdued tone, mirroring themes of decline and mortality. Characters reflect on their lives and the passage of time, ultimately leaving behind a legacy that questions the value of existence.