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COPYRIGHT 2006 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc.
Kaija Saariaho, whose new opera, "Adriana Mater," had its premiere in Paris earlier this month, once said that she likes to explore the boundary between music and noise. Many of her large-scale works, "Adriana" included, begin with a great, heaving expanse of intermingled timbres, like a landscape turned molten, or an ocean boiling. Instruments cry out at high or low extremes; pitches are bent or broken apart; violins are bowed with such intensity that they groan; flutes are blown until they emit an asthmatic rasp. It's the kind of sound that boxes the ears and maxes out the brain; information pours in on all frequencies. But Saariaho is something other than a sonic terrorist out to shock whatever remains of the bourgeoisie. She makes her eruptions of noise seem like natural phenomena, the aftermath of some seismic break. Shapes emerge from the chaos, and the shapes begin to sing. The latter sections of her pieces often bring apparitions of rare, pure beauty--plain intervals that sound like harmony reborn, liminal melodies that disappear the moment they are heard. They are like the wildflowers that bloom in Death Valley, their colors intensified by the nothingness around them.
Saariaho, who is fifty-three, has had a fascinating career trajectory, moving from the hothouses of the European avant-garde into something like the cultural mainstream. She was part of a ridiculously gifted class of Finnish music students that included the composer Magnus Lindberg and the composer-conductor Esa-Pekka Salonen (who led the "Adriana" premiere). She has been living in Paris since 1982, and...
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