Barbara Hannigan and Laura Bowler on The White Book: A Soul-Baring Musical Journey
In the sleek backstage of Gothenburg's Konserthus, Canadian soprano and conductor Barbara Hannigan and British composer Laura Bowler meet the morning after the world premiere of Bowler's new work, The White Book. Both artists appear shellshocked, having barely slept, yet they are eager to debrief on the adrenaline-fueled experience. Their conversation ranges from practicalities like travelling with Yorkshire tea to profound discussions about art and loss, revealing a dynamic partnership forged in vulnerability.
A Garment of Fragility and Strength
The premiere featured Hannigan in a one-of-a-kind white silk and wool linen dress by Japanese designer Yuima Nakazato, its delicate fabric held together by tiny magnets. Bowler marvels at its wonderful balance between strength and fragility, which she felt perfectly mirrored the piece's themes. This garment will also appear in upcoming debuts with the London Symphony Orchestra and Copenhagen Philharmonic, symbolizing the work's ethereal nature.
Inspired by Han Kang's Meditative Text
Bowler's score sets five chapters from Nobel-winning author Han Kang's The White Book, an autobiographical meditation on the death of the narrator's baby sister. The text begins with a litany of white objects and ends in a quasi-ecstatic saturation of whiteness, with blank pages emphasizing absence. Bowler first read the book at Christie hospital in Manchester while her mother was treated for leukaemia, finding it captured the moment of illness and silence.
After her mother recovered in September 2022, tragedy struck when she died in an accident that November. Bowler reached out to Kang again, explaining her personal connection, as the text explores the balance between life and death, longing, and memory. Her composition reflects this tension through high-wire vocal lines, dynamic contrasts, and eerie electronics, creating a breathtaking sense of space.
A Collaborative Ritual
Bowler composed the piece specifically for Hannigan, whom she admires for her ability to inhabit work deeply. Hannigan describes performing it as like turning your soul inside out, emphasizing it is not just a performance but a ritual. Despite the emotional weight, Hannigan notes she has never been calmer for a world premiere, attributing this to Bowler's score fitting her like a glove. The two were introduced by opera director Katie Mitchell, with Hannigan trusting her instinct about the collaboration.
Logistical and Artistic Decisions
Hannigan, who premieres around 100 works, decided The White Book was a sing piece rather than a sing/conduct piece, bringing in mentee Bar Avni to conduct in Gothenburg, London, and Copenhagen. She admits to being bossy in rehearsals but reassures Avni it is her general approach. Looking ahead, Hannigan will become chief conductor of the Iceland Symphony Orchestra in 2026, yet she insists she is singing more than ever, having mastered her instrument over time.
Catharsis and Legacy
For Bowler, writing the piece brought an element of peace, as she believes her mother would have loved it. Since her mother's passing, finding joy in premieres has been difficult, but The White Book feels like a presence. As an audience member for the premiere, Bowler found it overwhelming in a beautiful way, with adrenaline lingering unlike during performance. The UK premiere is set for March 4 at the Barbican in London, followed by an expanded concert conducted by Hannigan, marking a significant moment in contemporary classical music.
