Exploring the Intersection of Sound and Emotion: Shiva Feshareki's *Divine Feminine* and Barbara Hannigan's *The White Book*

Shiva Feshareki’s *Divine Feminine*, premiered at St Martin-in-the-Fields, is a multifaceted work that defies traditional categorization as an opera. This performance transforms the church into a “360° soundscape,” blending elements of music-theatre and installation art. The piece, featuring a text by poet Karen McCarthy Woolf, centers on the Celtic goddess Brigid and explores themes of femininity, rebirth, and resistance against patriarchy. Despite its ambitious scope, critics argue that the work lacks a cohesive narrative focus, describing it as a meditative celebration that ultimately falls short of delivering a compelling story.

The Guardian

The performance showcased soprano Emma Tring as Brigid, supported by the BBC Singers and young performers from Vox Next Gen, all under the direction of Lucy Goddard. Feshareki contributed to the soundscape through real-time manipulation on turntables and electric guitar. However, some reviewers noted that the piece, while rich in sound and energy, did not coalesce into a satisfying musical experience, leaving audiences questioning its overall impact.

The Guardian

In contrast, Barbara Hannigan’s *The White Book*, based on Han Kang’s autobiographical text, presents a deeply personal narrative through a 36-minute monodrama. The work reflects on themes of life and death, inspired by the author’s own experiences with loss. Hannigan’s performance, characterized by her exceptional vocal control and emotional engagement, captures the delicate balance between presence and absence, resonating with audiences on a profound level.

The Guardian

Hannigan and composer Laura Bowler, who created *The White Book*, shared insights into their collaborative process. Bowler, who had a personal connection to the text, expressed that the work was a means of processing her grief following her mother’s death. Hannigan’s approach to the score was described as ritualistic, emphasizing the importance of emotional authenticity in performance. The premiere in Gothenburg was met with acclaim, highlighting the effectiveness of their partnership in conveying the piece's emotional weight.

The Guardian

Critics have noted the contrasting receptions of both works. While *Divine Feminine* was praised for its innovative sound design, it faced criticism for its lack of narrative coherence. In contrast, *The White Book* was lauded for its emotional depth and the seamless integration of voice and orchestration, showcasing Hannigan’s versatility as both a singer and conductor.

The Guardian

Despite the acclaim for *The White Book*, some critics pointed to the challenges of translating deeply personal narratives into a musical format, questioning whether such works can universally resonate with audiences. Conversely, *Divine Feminine* faced scrutiny for its ambitious yet unfocused execution, with some reviewers suggesting that the piece's artistic intentions were overshadowed by its lack of structural clarity.

The Guardian

• “Art loses energy if it has no solid architecture to bounce off, no walls to scale or dismantle.” — The Guardian Review

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• “It’s a ritual.” — Barbara Hannigan on her performance approach.

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• “It’s brought me an element of peace that my mum would have just loved it. She came to everything and was unbelievably supportive. Since she passed, I’ve found it very difficult to find joy when my pieces have premiered. But there’s something about this piece – it feels like she’s there.” — Laura Bowler reflecting on her late mother’s influence on *The White Book*.

The Guardian

Both *Divine Feminine* and *The White Book* illustrate the evolving landscape of contemporary music, where emotional narratives and innovative soundscapes challenge traditional forms and invite audiences to engage with complex themes of identity and loss.

The Guardian