In a New Opera, Violence Against Women Is Not Just the Stuff of Fables

New York Times

11-07-2025

A bejeweled doe hides in the forest to protect itself. One day, the doe sees a drowning man who calls out for help. At great risk, the doe saves him. He promises not to reveal the animal's whereabouts but — enticed by a bounty from the king — he betrays the doe, and a brutal fate is suggested.
The story of 'The Nine Jewelled Deer,' a new opera that premiered last Sunday at the cultural center Luma Arles, in a co-production with the Aix-en-Provence Festival, is based on an ancient Jataka fable of India, exploring the Buddha's incarnations in both human and animal forms.
It has had a decidedly modern rebirth. That tale piqued the interest of half a dozen luminaries in the literary, visual and performing arts, including the author Lauren Groff, the painter Julie Mehretu and the director Peter Sellars, inspiring them to join forces to produce a nonlinear, highly metaphorical adaptation. Their version explores acts of betrayal and exploitation — of the earth, and especially of women. In some cases, its creators said in interviews, it is based on their own experiences and the experiences of women they know.
Sellars, known for his avant-garde and socially engaged opera and theater productions, is the sole man among the core creative team. At the heart of the production is Ganavya Doraiswamy, a New York-born musician and performer who blends improvisational jazz with Indian storytelling traditions. Sivan Eldar composed the score and serves as musical director.
Groff, the three-time National Book Award finalist and best-selling author, wrote the libretto with Doraiswamy and served as a kind of amanuensis, not just to the writing but to the people involved. Co-starring onstage with Doraiswamy is Aruna Sairam, a renowned ambassador of Indian vocal tradition, particularly South Indian Carnatic music, known for its devotional qualities. Mehretu, who had worked with Sellars on several operas as well — also based on ancient Buddhist stories, she said — contributed her characteristically abstract paintings that form the foundation of the production design.
Want all of The Times? Subscribe.