Anna Fišere on her TREE OPERA
Read my interview with Latvian expanded music composer Anna Fišere on her piece TREE OPERA. In 2019, her Tree Opera, “Windthrow,” for eight voices, chamber ensemble, and electronic track, premiered in an old-growth forest in Hyrynsalmi, Finland. Drawing inspiration from the most recent scientific research in plant neurophysiology and deep forest ecology, it explores the forest as a natural stage, creating a unique experience of our interconnectedness with nature at large and the forest in particular. The chamber ensemble musicians, including Swedish Paetzold contrabass recorder player Anna Petrini and singers from the Grammy Award-winning Latvian Radio Choir, performed on specially built platforms positioned in trees, which have become a trademark of the show.
What is the short history of the piece?
I was approached by the director of the “Munsdarida” artist residency in Finland to create an opera in the forest. The process began with me assembling the perfect team for the project, which included the painter Andris Eglitis, responsible for creating scenography, and Austris Mailitis, who crafted a unique stage for the opera using only biodegradable
materials that would decompose in the forest. Our approach to the forest was akin to that of bugs — doing our work and then leaving, ensuring that everything remained undisturbed in nature. It was crucial for us not to cause any harm to the environment. We initiated our preparations with two location scouting trips, allowing us to identify the perfect natural space for the opera. The journey was truly remarkable, starting with
endless walks in search of the ideal location and culminating in the construction of the nature concert space and the premiere of the opera.
What is the concept of the piece?
“Tree Opera” is an immersive musical experience that unfolds in a forest, where the forest itself becomes a protagonist in its own right. The concept was developed by pur team, drawing inspiration from the most recent scientific research in plant neuro-physiology and deep forest ecology, revealing that trees share information and nutrients through a
subterranean network of fungi. Instead of viewing trees as separate entities competing for resources, it perceives the forest as a wood-wide web — a cooperative, deeply symbiotic system where trees communicate among themselves and with other species, producing a collaborative intelligence or ‘forest wisdom.’
Watch trailer of TREE OPERA
How sensorial or listening experience is created through this piece?
The opera, set amidst nature, inherently offers a unique sensory perception. It was crucial to me that the overture was the audience’s walk to the opera stage. The audience had to walk for approximately 15–20 minutes to reach the opera stage, setting the mood even before the performance began. The walk occurred in twilight, and the stage was
approached in darkness. Throughout the walk, the audience was immersed in electronic material emanating from numerous speakers placed in the moss, by the trees, and various other places. This ritualistic journey led to a hidden spot in the heart of the forest. During the opera, being in nature allowed us to experience not only the music but also other natural sounds, depending on the weather. For instance, during the opera premiere,
a strong wind added an extra layer of sound and moved Andris Eglitis’ scenography objects specifically created to interact with the wind, merging everything into a cohesive whole. Another significant aspect was placing some musicians and singers on platforms attached to the trees, with some performing from 30 meters above the ground. This arrangement provided a completely different listening experience, adding a vertical dimension to the auditory journey.
What was the role of a specific site (forest) in this piece?
The specific site, the forest, plays a central and integral role in the entire concept and experience of “Tree Opera.” The forest is not just a backdrop but is actively involved as a protagonist, embodying the interconnectedness and symbiotic relationships explored in the opera’s theme. The forest is more than a mere location; it becomes an active participant in the opera, contributing to the narrative. The concept of the wood-wide web
and the collaborative intelligence of the forest highlight the importance of the natural environment in shaping the story. The opera integrates natural elements into the performance, allowing for dynamic interactions with the environment. Weather conditions, such as a strong wind during the premiere, become an unexpected but enriching layer of sound. Scenography objects designed to interact with the wind further
blend the artistic creation with the natural surroundings, creating a harmonious fusion.
How did work with performers and rehearsals in the forest impacted this piece?
Placing musicians and singers on platforms attached to the trees, some as high as 30 meters above the ground, adds a vertical dimension to the auditory journey. This unique arrangement not only offers a different listening perspective but also physically connects the performers with the forest canopy, reinforcing the symbiotic relationship between the artists and the natural setting.
What was the process of composing this piece?
Additionally, as I mentioned before, we had two location scouting trips with our team. During the last trip, the sound director took measurements for the stage together with architect Austris Mailitis. I utilized a graphic drawing of the venue to envision the placement of musicians as I composed the piece. It was crucial for me to establish diverse connections between singers and musicians. Moreover, the location possessed a unique vibe, influencing my thoughts on mythology and the significance of forests in different eras. The place played a vital role in shaping the composition. Definitely, the abilities of the musicians also influenced my composing
process. The singers from the Latvian Radio choir, in particular, demonstrated unparalleled versatility, as they can sing anything without limitations. This encouraged me to explore various vocal options available to them.
Can you imagine the same piece in a concert hall? What could it be?
The nature-centric essence of “Tree Opera” is intricately tied to the outdoor setting, particularly the forest, and it is not envisioned as a piece suitable for an indoor concert hall. The forest serves as more than just a visual backdrop; it actively participates in the opera’s narrative, contributing to the immersive sensorial experience. While the piece might be adaptable to an open park in a city center, the idea of confining it to a traditional concert hall would risk diminishing its intended impact and the freedom
inherent in its outdoor presentation. Alternatively, experiencing the opera through headphones, even without the visual element, could still capture some of the intended essence, but the outdoor setting remains integral to the overall concept and atmosphere of “Tree Opera.”
What are the basic compositional principles used in this piece?
The libretto’s characters, such as roots, trunk, branches, and leaves, serve as fundamental inspirations for the choice of voices and singing styles for the singers. Each character is embodied through a distinct vocal approach that mirrors the qualities and functions of the corresponding tree components. The singers mimic the structures of trees through their
vocal performances. For instance, the leaves are guided to sing in a manner described in the score as “giggling like young girls or old ladies,” aligning with the natural phenomenon of leaf trembling. The use of specific vocal techniques for different characters reinforces the symbolic representation of tree components. For example, the bass singer representing roots combines yodeling with overtone singing. Beyond vocal expression, the composition extends to instrumental imitation, as seen in the use of a
specific term in the score for violin players — playing tremolo to mimic a mosquito. In summary, the basic compositional principles in “Tree Opera” revolve around a character-driven approach, mimicking natural structures, employing symbolic vocal techniques, and incorporating instrumental imitation.
Anna is a Latvian composer working in the areas of chamber music, opera, music for choir and vocal ensembles, instrumental solo pieces, duos, electroacoustic music and sound installations. Fascinated by the most intricate properties of sound, she approaches it as a live organism that embodies a musical form in itself. Her work is often created in close collaboration with musicians, exploring the finest timbral, textural and technical possibilities of each instrument that eventually lead to meticulously designed sonoric architectures. Inspired by the mysteries of nature, she steps with it into a conversation through her music in which she strives to collide disciplined rationality and scientific research with feminine intuition and sensitive plasticity.
