“I’m sorry my story is in fragments”: Offred’s Operatic Counter-Memory

Abstract

T    opened its - season to great critical and cultural acclaim with the Canadian premiere of Poul Ruders and Paul Bentley's  e Handmaid's Tale (Tjenerindens Fortælling), Tjenerindens Fortælling), Tjenerindens Fortælling an operatic adaptation of Margaret Atwood's  dystopic novel of the same title.Opening an opera season with a contemporary work is a boxoffi ce gamble; indeed, this risky decision marked a fi rst for the Canadian Opera Company.And, as Atwood admits, when Ruders fi rst approached her and proposed adapting her novel into opera, she thought, " is person is mad" ("God and Gilead").But the fi nal product, which received its world premiere on  March  with the company that commissioned the work (Royal Danish Opera), demonstrates the fortuitous truth that fi rst thoughts are often wrong.In his  review of the British premiere, Martin Anderson aptly sums up the general enthusiasm for the work, "what a superior piece of theatre it is: music, libretto, direction, stage design, costumes

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