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Death as a Metaphor: an interview with Missy Mazzoli

By Olivia Giovetti
Published August 26, 2021
Van Magazine

Missy Mazzoli is sitting in one of Ingmar Bergman’s bedrooms when she joins our Zoom meeting earlier this summer. At the time, the 40-year-old composer was finishing a monthlong artist’s residency at the Bergman Estate at Fårö—an island in the Baltic Sea off the coast of Sweden where the director lived and filmed parts of Through a Glass Darkly and Scenes from a Marriage.

Bergman wasn’t the first to seek solace on Fårö. The island was a haven for people looking to avoid the plague in the 1400s. Those marks of history are still apparent on the island, making Mazzoli’s residency there a bit cosmic: She spent the time working on a violin concerto for Jennifer Koh, inspired by Medieval chants and prayers used to ward off the plague. From an island linked to both plague and Persona, Mazzoli and I spoke about her upcoming operatic adaptation of George Saunders’s novel Lincoln in the Bardo, the legacy of her teacher Louis Andriessen, and her current studies to become a death doula. 

But first, she caught me up on the pieces she’s been working on given the extra time afforded by the pandemic.

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