• LULLABY

    A SUNG MONODRAMA IN ONE ACT

    By Kamala Sankaram, Guillermo Calderón, Sjaron Minailo and Laura Bohn

    World premiere – 22-05-2023, O. Festival Rotterdam

Mother: Laura Bohn

Viola: Gijs Kramers

Piano: Jelena Popovic

Electronics: Kamala Sankaram / Petra Randewijk

Choir voices: Kamala Sankaram and Paul Chwe MinChul An

Composed by Kamala Sankaram

Libretto by Guillermo Calderón

Directed by Sjaron Minailo

Set and light design by Sjaron Minailo

Light design by Samon Presland

Costume by Raphael Jacobs

Production by Lis Borrel and Sjaron Minailo

A production of Studio Minailo and Laura Bohn

With Special thank you to: O. Festval – Lique van Gerven and Guy Coolen, Joost Heijthuijsen, Elena Strok, Zaid Al Aubaide, Colin Driessen, Efraim Schulz-Wackerbarth, Phil and Joan Bohn, Maarten en Jose Warmerdam, Adriaan Breunis, Door Open Space – Chafik, Xander, Emma and Victoria, Jump Studio – Jesse and Jip

Notes on the performance

Guillermo Calderón about the birth of Lullaby:

“Towards the end of 2019 a huge uprising, a popular uprising, a revolution started here in Chile, and the epicenter of the whole movement was just a few blocks from our apartment. So we felt that what was going on historically was very much part of our daily life … we could hear the protests happening every day, we could hear the police attacking the protesters, and we could actually smell the teargas inside from our closed windows and doors. It was a struggle to bring a baby to bed under those conditions but we wanted to join the protest anyway. So we would take turns to go out and then come back to take care of the baby, completely drenched in this poisonous tear gas, take a shower and then continue trying to bring the baby to sleep. So we were very much participants in the movement. But of course, we had to struggle because one thing is trying to put the baby to bed, with normal noises from the outside but when you have military helicopters flying over your apartment it’s a different challenge. So it was a struggle… We managed to put the baby to bed anyway, singing lullabies, singing whatever we could sing just to mask the noise coming from outside… So when we first talked about the possibility of developing this project Lullaby, I thought, well in order to for it to be really meaningful for me it has to be connected to the actual experience we’ve had here in the last year; which is this relationship between singing a lullaby for a baby to go to sleep while managing our own anxiety about your country falling apart, about the police enacting horrible repression on the protesters, and anxiety over the future and anxiety about being actually  poisoned  by this tear gas I keep talking about… so I thought in a way it was the perfect inspiration, in order to not create a lullaby, that’s completely isolated from the world, but to create a lullaby that’s completely connected to the world.”


Sjaron Minailo about the creation of Lullaby:

Lullaby has undergone an unusually long creation process, involving several drafts of both the libretto and composition, leading up to the show you are about to witness. What initially began as a personal story about being a young parent during a time of social upheaval has gradually transformed into a broader contemplation on contemporary activism and the concept of “taking a stand.” When we embarked on this project back in 2020, we could not have foreseen that the Chilean protests that sparked the idea for the opera would become a shared experience for the entire artistic team. Within a short span, the protests not only became part of our librettist Calderón’s daily life, but they also became part of all our lives. Black Lives Matter, abortion and Climate protests in the US; in the Netherlands, alongside BLM and Climate protests, we had the farmers and anti-lockdown protests on the rise. Later, in Israel, mass demonstrations against the occupation and the threat to democracy were going strong.  It is evident that the world is currently undergoing a period of profound change. As artists, how do we wish to portray and interpret this historical era? How do we relate to it? Unbeknownst to us, the Mother character ceased to be just a mother; she became a representation of all of us. We began questioning ourselves: Is she refraining from going out because the baby struggles to fall asleep, or is she using the baby as an excuse to avoid venturing outside? (And is there actually a baby at all?) Perhaps it’s a combination of both. Observing our surroundings, we witnessed how various protests led to counter-protests, resulting in a polarized public discourse where each group staunchly asserted their version of the “truth”. Suddenly, the militant notion of “you’re either with us or against us” became the prevailing norm. Two distinct movements emerged within people around us, including ourselves: those who wholeheartedly committed to a cause and picked definitive sides, and those who withdrew from the protests altogether, afraid to let a grey voice heard. Given that the former is often overrepresented in media and art, we opted to focus on the latter—the sensation of being immobilized; unable to choose one side or the other definitively; having as many questions as answers. Protests are not conducive to nuance; revolutions are always viewed as black or white. As our Mother grapples with her desire to join the movement for change on one hand and her paralysis induced by the anxiety of commitment on the other, she gradually realizes that the essence of protests does not lie in absolute alignment or polarization. She learns that all sides are fighting a shared battle for a paradigm shift—it is not solely about the choice she makes, but rather about participating in a vast chorus of voices—harmonious and discordant alike—all singing out for change, for a better, new world.

Biographies

KAMALA SANKARAM, composer

Praised as “strikingly original” (NY Times) and “one of the most exciting opera composers in the country” (Washington Post), Kamala Sankaram writes highly theatrical music that moves from experimental soundscapes to grand opera. She has been commissioned by luminaries including including the  Washington National Opera, the Glimmerglass Festival (where she was the 2022 Artist in Residence), Minnesota Opera, Houston Grand Opera, the PROTOTYPE Festival, and Creative Time, among others. She has been featured in media including BBC3, NBC, the New York Times, and the Washington Post. Known for her work with emerging technologies, notable works include a 10-hour opera for the trees of Prospect Park, Brooklyn, a techno-noir with live data-mining of the audience and a chorus of singing tablet computers, and the world’s first virtual reality opera, released on Samsung VR. Dr. Sankaram holds a PhD from the New School and is currently a member of the composition faculties at SUNY Purchase and the Mannes School of Music.

GUILLERMO CALDERÓN, librettist

Guillermo Calderón (Santiago, Chile, 1971) is a screenwriter, playwright and theater director.  Calderón’s productions have toured extensively through South America, North America, and Europe. He has been commissioned to write and direct by the Düsseldorfer Schauspielhaus, Theater Basel, HAU Hebbel am Ufer, the Royal Court Theater, Center Theater Group, and the Public Theater in New York City, where he also directed Neva. His co-written screenplay Violeta Went to Heaven won the World Cinema Jury Prize for Drama at the 2012 Sundance Film Festival. Calderón co-wrote The Club, directed by Pablo Larrain, winner of the Silver Bear at the Berlin International Film Festival 2015, and nominated for the Golden Globes in the Foreign Language category. The script won the Silver plaque at the Chicago International Film Festival. He wrote the script for Neruda, directed by Pablo Larraín, presented at the Quinzaine des Réalisateurs (The Director’s Fortnight) during Cannes Film Festival 2016.  

SJARON MINAILO, director

Dutch/Israeli music theatre and opera director Sjaron Minailo studied theatre and musicology in Israel and Amsterdam. He is the artistic director of Studio Minailo – an Amsterdam based laboratory for experimental contemporary opera. Minailo is specialised in minimalist site-specific opera creations that break the conventions of space and tradition. Alongside his studio work, Minailo is a freelance director whose recent productions have been seen at the Venice Biennale, Prototype Festival New York, Holland Festival, Opera La Monnaie, Dutch Nationale Opera, Bergen National Opera, Poznan Opera, Rara Festival Krakau, Tempo Festival Rio de Janeiro and O. Festival. Minailo is the artistic director of the MA program Re:master Opera at Amsterdam based Sandberg Institute, the artistic head of the Music-Theatre department at ArtEZ, and Artist-Curator at the Opera Forward Festival of the Dutch National Opera and a recurring tutor at European Network of Opera Academies (ENOA).

LAURA BOHN, mother

American Soprano Laura Bohn’s performances have been heralded as “a brilliant tour de force triumph” and  “the tragic classicism and intense, focused range of a Callas playing Medea” (Gramophone). She has been featured in performances with the LA Philharmonic, The Industry (LA), The Mostly Mozart Orchestra (NY), Het Residentie Orkest (Netherlands), The Nederlandse Reisopera, I Solisti del Vento (Belgium), Operadagen Rotterdam, Syracuse Opera (NY), West Edge Opera (CA), Festival Opera (CA), The Center for Contemporary Opera (NY), The Millennium Jazz Orchestra (NL), the Grand Harmonie Orchestra (MA) and Silbersee Opera (NL). Ms. Bohn has been featured on such stages as Benaroya Hall in Seattle,  Lincoln Center’s Avery Fisher Hall,  the Walt Disney Concert Hall in LA,  the Konzerthaus in Berlin, National Sawdust in New York, Het Concertgebouw and Het Muziekgebouw in Amsterdam.

Role highlights include The Duchess in Adés’ Powder her Face (Nederlandse Reisopera), the Governess in The Turn of the Screw (West Edge Opera, Dallas Opera cover), Elle in La Voix Humaine (National Sawdust NYC), and a dancing and singing Nerone in a hip-hop adaptation of Monteverdi’s L’incoronazione di Poppea (Nederlands tour/Silbersee).  Career highlights include her Lincoln Center debut as soprano soloist (singing and dancing)  in Bernstein’s MASS, a reprise of the role which marked her debut with the LA Philharmonic under the baton of Gustavo Dudamel.  An avid champion of new opera; this coming season Laura will  present the solo tour de force Sucktion by Anne Le Baron in Los Angeles, workshop the title role in The Silent Partner (Seattle Opera/West Edge Opera), and  tour Lullaby through the Netherlands including the Dutch National Opera Boekmanzaal. More info at www.LauraBohn.com  

GIJS KRAMERS, viola

As a soloist, Gijs Kramers performed works of John Cage, George Benjamin and Pierre Boulez in the Festival d’Art Lyrique in Aix-en-Provence. Solo concertos include Henkemans’ viola concerto in Groningen and Bartók’s concerto in the Concertgebouw, Amsterdam.  In 2001 he was appointed co-principal viola of the Netherlands Ballet Orchestra before joining the London Philharmonia Orchestra in 2002 where he performs over 100 performances a season. As a member of the Ruysdael Quartet, Gijs Kramers received de Prix de la SACEM at the International String Quartet Competition in Bordeaux in 2001, and the Press Prize and AVRO Prize in the Concertgebouw, Amsterdam. In December 2006, the Ruysdael Quartet was honoured with the Kersjes van de Groenekan Prize, awarded for their unique contribution to Dutch chamber music. Gijs also works with other chamber groups in London, such as the Tate Ensemble. Performances include Carnegie Hall in New York, Wigmore Hall London, the Aldeburgh, Bath, Newbury festivals and BBC Radio 3.

JELENA POPOVIC, piano

Jelena Popović was born in Belgrade, Serbia.

She obtained her bachelor’s degrees in Piano from the Belgrade Faculty of Music and from the Amsterdam Conservatory. She also holds the Master’s degree in chamber music and accompaniment from the Conservatory of Utrecht.

She works as a pianist at the European school of ballet, AHK, National ballet academy and at the education department of the Dutch National Opera and Ballet.

SAMON PRESLAND, light design

Born in 1985 England (UK), Samon graduated from the Rambert School of Ballet and Contemporary Dance (UK) in 2008.  He worked for De Nederlandse Opera (NL), Les Grande Theatre de Geneve (CH) and Hofesh Shechter for Companhia Instável (PT). He also performed ‘Kiss’ in Tino Sehgal’s year long exhibition at the Stedelijk Museum, Amsterdam (NL). In 2017 Samon graduated with a Masters in Fine Art, program Scenography from the HKU, Utrecht (NL) and now works as a freelance light designer. Since 2018 he has been a co-creator together with Lunatics and Poets, and frequently works with Studio Warmerdam as a member of the Exhibition Lighting Design Team of the Stedelijk Museum, Amsterdam (NL) and the Eye Film Museum Amsterdam (NL).

RAPHAEL R. JACOBS, costume design

Raphael R. Jacobs is an artist, music theater maker, musician and lives in Berlin. In interdisciplinary settings, Raphael combines disciplines such as music, language and design. Studies in fine arts and fashion design (Berlin Kunsthochschule Weissensee),  were completed with a master’s degree in fine arts at the Sandberg Institute in Amsterdam (Approaching Language), while also studying organ with Prof. Joris Verdin at the Royal Conservatory in Antwerp.Since 2018, Raphael has been collaborating with Ludger Engels and designed costumes for “il Trionfo del Tempo e del Disinganno”, “La Calisto”, “Lulu” and “L’Orontea” at Theater Aachen (DE). Multidisciplinary Installation work was developed for W139, Perdu, Brakke Grond in Amsterdam; sound works for the artist Andreas Greiner were developed for the Sprengelmuseum Hannover and the Meetfactory Prague. After assisting Sjaron Minailo’s music theater productions in 2021-2022, the work for Lullaby at the O.Festival is the first work as Costume designer for Studio Minailo. Raphael is currently working as a stage director with the Cusk Kollektiv and as a costume designer for the BRuCH Ensemble and Kapitolina Tcvetkova. In the 2023/24 season, Raphael will join the Opera Studio of the Operá national de Paris as _Metteure en scène en residence_.

Libretto by Guillermo Calderón

A Woman is alone at home. The sounds of the outside word, of the protesting people and of the violence which all around, are filling her space. She wants to escape it, but not yet; she tries to let the sounds in; she tries to deal with it. But she can’t, her fear and need to escape the world outside is stronger. She slams the window shut.

Hmmmm
Hummm
Hummm
Listen.
Listen.
Another night
A small room in a big city.
A Golden city by the ocean… Hmmmm

Hmmmm

I’m sitting on my bed.
Talking with my significant other.

Hey.
Significant Other.
Don’t worry about it.
Sure?
It’s my turn.
I know.
I still feel sorry for you.
I told you.
Don’t worry about it.
I got this.
I know what I!m doing.
Good.
Good.
Go.
Go back to your screen.
Thanks.
I got this.
Go.


And Significant Other leaves.
Back to the screen in another room. And I’m left alone.
Well, not alone.

Listen.
Baby, Baby.
Go to sleep, baby.
Go to sleep.
Baby, Baby.
They say it’s good for your brain. And good for me.
Now.
Go to sleep, baby.
Go to sleep.

I’m going to sing you a song.

The sea is blue.
And quiet is the sea.
The sea is deep and quiet.
And deep is the quiet blue deep white sea. Pacific.
Still awake?

Let’s try again, a new song..

And then my significant other walks in.

What’s up?
Still awake?

Still awake.

Yeah.
I see.
Yeah.
Listen.
Enough of the screen. Today’s my free day So I’m gonna go out.

Sure, where?

You know. The thing. Outside.

Oh, sure.
I know. Yeah. Yeah.

Bye. Bye.

Still awake.
OK.
Still awake.
That’s fine.
I need a new song… A new song…

Let’s try this song.
It’s from Africa.
From the delta.
Some river in the Congo. I think.

Something, something, something. Something.
And the boy rows down the river.
And the crocodile opens his mouth. And the boy keeps rowing and rowing. Something, something. something. The river runs deep.

A brown river.
A deep brown river.
A quiet river.
A flood.
Something, something. Repeat.

Still awake?
OK.
Still awake.
Baby, baby.
Go to sleep, baby. Go to sleep, baby. Baby.

Because I want to go out. That thing, you know? Which side are you on? Which side are you on?

My side
And your side No one else’s…

I’d love to..
How can I ever go out? I can’t leave you here. Alone.
Sleeping alone. Sleeping.
Alone.
If you ever sleep.

Still awake?
OK.
I need a new song… A new song… Listen.

One elephant.
Two elephants.
Hanging from a spiderweb. Three elephants.
Four elephants.
Hanging from a spiderweb. A spider web.
Of spiders.
Elephants covered in spiders. Hanging from spiderwebs. Elephants.

Still awake?
Still awake.
I need a new Song… A new Song…

I’m OK with staying at home, you know?

Yeah.
Yeah,
Singing with you.
Yeah.
Yeah.
I mean — I’ve been out a lot. Over the years,
A lot.
A lot.
I mean.
I used to be wild,
My hair all blue and green.
I have pictures.

Still awake? Still awake.

Maybe it’s too stuffy in here. Let me open the window.

(Opens the window, street sounds)

Oh.
Oh.
Oh – oh – oh.

Nice breeze
Wild breeze.
Wild street
Wild people
Will you be wild like them one day? Don!t look at me like that

I used to be wild, my hair all green and blue I have pictures

Wild street
Crazy street
Loud street
Loud people
Will you be loud like them one day? Don!t look at me like that

I was a teenage enemy of the state A young destroyer of oppression.

But now I don’t believe in singing. I don!t believe in screaming.

I don’t believe in chanting.
In chanting outside on the wild street. The loud street.
Not anymore.

Don’t look at me like that
I don’t care about politics anymore.

I used to.
But now I only care about you.

We live in some sort of war. And the world is ending. We live in some sort of war.

Look outside
The smoke stacks. The screams.
The sirens.
The people
The songs.
The hope.
Hope?

Hmmm

Listen
Let’s be honest here baby.

Those people chanting out there, Those people singing.
They won’t stop.
They can’t stop.

We live in some kind of war. Who needs to sleep,
When the world is on fire.

Listen, baby.
I’ll tell you what.
Sometimes you have to do stuff.

Important stuff. Tonight.

We go outside. Run downstairs To the street.

So I walk down the street Holding you baby.
Still trying
Go to sleep, baby.

Go to sleep.

And you’re still awake. Loving the street lights. And the sirens.
And the screams. What’s going on?

And finally we make it to the crowd.

And here I am.
Holding the baby.
Not falling asleep.
Very much awake.
And the people there see me holding a baby. They give me the thumbs up.

And I smile back. Thumbs up.
But I’m angry.
Of course.

Who isn’t?

This madness has to stop. So I start screaming. Screaming loud.

(Police sirens)

My face is red.
Sweating.
Holding the baby.
And the sirens get closer. So I run.

And then I hide.
And then I run again. And then there’s a bang. Or a boom.
A boom and a bang. Everyone runs.
And I run.
There!s smoke.
The white smoke.
The chemical weapons. So I run faster.
So fast.
So fast.
the baby is laughing. And I keep running. Running and running. Running.

Until I’m alone. Until I get lost. Very lost.

What am I doing out here? What am I doing?

What a weird night.
I guess it’s not my place to join the protests.

Single mothers need to stay at home. Especially at bedtime.

War or peace.
The baby needs to sleep.
But if there’s no justice, then there’s no peace. Is there, baby?

The baby is very awake. Still awake.
Go to sleep baby.
Go to sleep.

And then a car pulls over. Window down.
A lady.

(spoken)
Hey, you with the baby.
Me?
Yeah.
You.
Do you need a ride?
Me?
Yeah.
It looks like you need to get home. It’s free.

So the lady gives me a ride. Free.

Weird night, uh? Oh yeah.
Weird.
Baby can’t sleep? No.

Have you tried a lullaby?
Sure.
But it’s not working.
Listen, I’m no scientist, she says. I’m no scientist.

But I read somewhere that you shouldn’t get anxious about that lullaby. That lullaby you’re trying to compose.

For the baby. Really?

Yeah.
An article.
I read that when the baby doesn’t go to sleep, she is raising you. What do you mean? Raising me?
Yeah.
The baby.
Raising YOU.

See, the baby is forcing you to come up with a new lullaby.
A better lullaby.
She’s pushing you to come up with new words, new melodies, you know?
Ok.
So the baby is pushing you to be more creative, you know?
There’s an evolutionary advantage in having a more creative parent, you know? I mean — the baby’s always thinking you’re not trying hard enough.
And the baby wants you to struggle.
To really come up with a better lullaby.
So she can fall asleep.
For her survival.
I’m talking cavemen stuff here.
But it’s science.

Wait.
My baby thinks I’m not trying hard enough?

Oh, no.
You just said that.
Did I?
You did.
Oh, well.
Maybe I’m wrong.
You can’t believe every single thing you read on the internet.

Sure.
Right?
Sure.
For example, this thing I just told you.
It doesn’t really sound true.
When you think about it.
But it does kind of make sense.
But just forget about it.
The website had too many ads.
Fishy ads.
That!s how you know.

So maybe it’s fake science. Maybe.
I’m not a scientist, you know?

Listen.
This is our building. Sure.
And she pulls over.

Wait.
You’re raising that baby by yourself, aren’t you?
Oh.
No.
Well, yeah.
Yes.
I mean, sometimes I imagine I have a significant other.
Just to imagine someone is helping me out.
With the baby.
With life.
You know.
Yeah.
I get it.
But this imaginary significant other is always leaving, for some reason. Always on the way out.
Out there.
Why do you ask?

Because, since you are raising your baby alone — Sorry.
What?
All I wanted to say is you’re not alone.

Because this thing —
About the baby being awake.
Not falling asleep.
This thing has been going on forever. Everywhere.
Yeah.
The baby has to go to sleep every single night. A war.
A party.
A protest.
A broken heart.

The baby still has to sleep. With a song.
Go to sleep, baby.
Go to sleep.

That’s our oldest song, you know? Everyone sings that song.

So don’t ever think you’re singing alone. Because you’re singing with a lot of people.

So you’re part of a chorus of sorts.
You are not alone.
If you sing a lullaby, you are joining a big choir. You’re whispering into your baby’s ear.
While a million voices whisper into your ear. Go to sleep baby.
Go to sleep.

Well, thank you.
Bye.
And she drives away.
The weird lady drives away.

And we go upstairs. And we go inside. And we lay down.

And I start singing, softly. A war.
A protest.
A party.

A broken heart
Still the baby must sleep. With a song.
Go to sleep, baby.

Over the fire.
Over the screams.
Over the sirens.
And they keep singing, no matter what so it’s a chorus of sorts.
You sing the lullaby, you join a choir. You are not alone.

You whisper in the baby’s ear.
And a thousand voices whisper in your ear. Go to sleep baby.
Go to sleep.

And suddenly the baby is asleep. Sleeping.
Deep.
Not awake.

Asleep.

I can’t move.
I can’t breathe.
But the baby isn’t waking up, so I breathe.

Such a weird night.
It seems unreal.
Like one of those half dreams.
The ones you dream when you’re half asleep.

I dreamed that the baby wanted to survive by making me stronger.
That the baby defeated me
Over and over.

Defeated my made-up song
By not falling asleep.
So I could compose a better song.

A sleeping song

Far away the protest. It’s fading
The screams
the chants

Now I can only hear a chorus. A very weird hum
A weird, loud distant chorus a tiny chorus in my ear.

It’s a song.
A sleeping song

I see ten little birdies,

swinging from a tree, Singing in a choir: Baby go to sleep. Close your eyes, and go to sleep.

And we are all the birdies
and we are all the choir
Baby, baby, baby — please, baby go to sleep. Baby go to sleep.

END.

Special thanks to