Barbara Hannigan and Laura Bowler Reflect on The White Book's World Premiere
In the aftermath of the world premiere, Canadian soprano and conductor Barbara Hannigan and British composer Laura Bowler meet backstage at Gothenburg's Konserthus. Both artists, having slept little, share a shellshocked yet exhilarated energy, turning their conversation into an adrenaline-fuelled debrief rather than a formal interview.
A Personal Journey Through Loss and Art
Bowler's composition, The White Book, sets five chapters from Nobel laureate Han Kang's autobiographical meditation on the death of a baby sister. The text, filled with white imagery and blank spaces, resonated deeply with Bowler during her mother's battle with acute myeloid leukaemia. After her mother's recovery and subsequent accidental death in November 2022, Bowler revisited the work, seeking permission from Kang to set the text, driven by its vulnerability and personal significance.
"The extracts capture the balance between life and death," Bowler explains, highlighting the tension between presence and absence that permeates her score. This is reflected in the high-wire vocal line, dynamic contrasts, and eerie electronics, creating a breathtaking sense of space.
Hannigan's Calm Amidst Artistic Demands
Hannigan, who premiered the work with the Gothenburg Symphony Orchestra, describes the experience as "like turning your soul inside out." Despite the emotional weight, she notes unprecedented calm for a world premiere, attributing it to Bowler's music fitting "like a glove." With over 100 premieres to her name, Hannigan emphasizes that this piece required skills honed over a decade, yet she felt fully prepared from the first rehearsal.
The collaboration was facilitated by opera director Katie Mitchell, who introduced the two artists. Hannigan, known for her multi-tasking as a singer and conductor, decided this was solely a "sing piece," delegating conducting duties to her mentee Bar Avni for performances in Gothenburg, London, and Copenhagen.
Behind the Scenes: From Tea to Fashion
Amidst the serious discussion, Hannigan and Bowler share lighter moments, debating the importance of travelling with Yorkshire and Clipper tea, recommending Gothenburg's best buns at Eva's Paley, and critiquing conductors' earnings. Hannigan's offstage authority is evident as she orchestrates meeting changes and insists on shoe removal in her dressing room to protect a delicate white silk and wool linen dress by Japanese designer Yuima Nakazato.
Bowler marvels at the dress's "balance between strength and fragility," seeing it as a perfect metaphor for the composition. The garment, held together by magnets, will feature in all debuts, adding a visual layer to the performance's emotional depth.
Catharsis and Future Performances
For Bowler, witnessing the premiere as an audience member was overwhelming yet beautiful, offering a sense of peace and connection to her mother. "It feels like she's there," she shares, noting the difficulty of finding joy in premieres since her loss.
Hannigan, balancing roles as chief conductor of the Iceland Symphony Orchestra and positions with other ensembles, asserts she is singing more than ever, confident in her vocal instrument. She attributes her ability to manage multiple commitments to surrendering to limitations and harnessing adrenaline.
The UK premiere of The White Book is scheduled for March 4 at the Barbican in London with the London Symphony Orchestra, followed by an expanded concert conducted by Hannigan. This work stands as a testament to the power of art in processing grief and the collaborative spirit between composer and performer.
