The often tragic fates of female characters are a driving force in the world of opera, which is populated by the much-loved singers that embody them. Conversely, far fewer women are at the helm behind the scenes. Astonishing… Or maybe not? If women are hardly portrayed as strong leaders in an opera context could that be part of the explanation why they are rarely given the keys to an Opera House?

In SOLA SOLETTA, the American soprano Maribeth Diggle researches these gender-related hierarchies in a sociocritical and poetic manner, together with an idiosyncratic cast of performers and the Argentine composer Ezequiel Menalled. His score fuses lyricism, contemporary vocal techniques, and live electronics into a sensual sound design.

“Maribeth Diggle presents a completely different approach to Mimi in Puccini’s La Bohème (one of the best-known opera characters of all times) by starting with the woman’s standpoint.” – Guy Coolen (artistiek directeur O.)