Verdigris Ensemble sings about transformation in ‘Song from the Uproar'

Only a groundbreaking opera could capture the extraordinary life of Isabelle Eberhardt. The Swiss explorer and writer’s unconventional nomadic existence is the subject of Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt, a multi-media one-act opera by Missy Mazzoli and presented by Verdigris Ensemble at Theatre Three in Uptown Dallas Feb. 28 – March 2.

In 1897, Eberhardt left her charmed life to live as Si Mahmoud Saadi, a male-presenting Su mystic in French Algeria. Living as man and writing under male pseudonym allowed Eberhardt to navigate the male-dominated world, but in this new identity, she found the freedom to live life on her terms.

“Isabelle Eberhardt's story resonates powerfully today because it demonstrates the radical possibility of personal and societal transformation. In the late 1800s, she defied every convention - immigrating to Algeria, adopting male dress, joining the army - to forge her own path. This speaks directly to Dallas' current moment of transformation, as our city evolves from its challenging historical reputation to emerge as a vibrant cultural center. Through Song From The Uproar, we explore Eberhardt's journey as an inspiring example of how individuals and communities can reimagine themselves, even in times of profound change. Her story reminds us that transformation, while difficult, is both possible and necessary for growth,” said Sam Brukhman, Verdigris Ensemble’s artistic director.

The music innovatively shows Eberhardt’s transformation.

“Mazzoli's score has this hypnotic fusion of classical and contemporary elements, such as electronics mixed with live instruments. The work weaves together lush harmonies with minimalist patterns, creating a soundscape that mirrors both Eberhardt's internal turbulence and the desert landscapes she traversed. What makes it particularly innovative is how Mazzoli uses vocal music to convey the emotional intensity of Eberhardt's story - the score shifts between traditional operatic writing and more experimental vocal techniques that capture the Isabelle's constant reinvention of herself. The music is characterized by its mesmerizing rhythmic patterns and rich harmonic language that defies easy categorization, creating a unique blend that feels both timeless and thoroughly modern,” Brukhman said.

Verdigris Ensemble is entrusting Claire Choquette with the opera’s staging.

“How do you tell a story that's not presented as a story at all? This work is tricky in that it does not aim to biographically narrate Isabelle's life, rather to explore her emotional states at various stages of her story. Because the text (much of it is Isabelle's own writing) and music are reflective rather than narrative, we had to do a lot of research to postulate why Isabelle may have been feeling the way she did. Overall, the piece offers more questions than answers. We've been challenging ourselves not to find the answers, but to get comfortable simply sitting in the questions, wondering, contemplating. We invite audiences not only to experience this unknowing with us, but to be brave enough to ask questions of their own,” Choquette said.

Verdigris Ensemble has performed at several theaters, art museums and even a planetarium. Theatre Three’s arena stage forces a different perspective of the story for the singers and the audience.

“Theatre Three's in-the-round space offers us an exciting opportunity to reimagine how audiences experience vocal music. While traditional concert halls create distance between performers and listeners, this intimate space allows us to surround the audience with sound and movement, making them active participants in the storytelling. This aligns perfectly with Mazzoli's opera, which itself breaks traditional boundaries. The circular staging challenges us to think beyond conventional choral formations and create a truly three-dimensional experience where every seat offers a unique perspective on both the music and the dramatic action. It's part of our broader vision to transform how people engage with vocal performance,” Brukhman said.

“Theatre Three is a very unique, immersive space, with the audience in the round on all four sides of the stage. If you came to the show more than once and sat in a different spot, you'd have a completely different experience each time, which is pretty cool,” Choquette said. 

As in previous productions, Verdigris Ensemble is incorporating real-time AI and projecting visuals.

“In this production, we're exploring new territory by using AI to transform documentary footage into dreamlike imagery that blurs the line between reality and imagination. The AI processing creates a distinctive visual aesthetic that hovers between animation and live action, reflecting the liminal spaces Eberhardt herself inhabited. This visual treatment makes us question whether we're seeing Eberhardt's memories, her journal entries coming to life, or her inner visions of the world around her. The ambiguity of these AI-processed images mirrors the fluid nature of identity and perception that's central to Eberhardt's story,” Brukhman said.

Courtney Ware, co-founder of Lightware Labs with her husband Camron Ware, is teaming up with Verdigris Ensemble again to create the visuals for this production.

“Verdigris has always pushed against what a typical ‘choral performance’ looks like. Last season we experimented with using AI for 100% of the projection visuals. Through that process we learned how AI can open up possibilities - as well as its shortcomings,” Ware said. “The visuals for this show need to ground the audience, so I knew we would have a hard time getting the AI to generate the specificity that we needed to tell the story. Most of my career has been in film, so I pitched that we film our singers in costume and in character and use that as the blueprint to then feed through various AI platforms to get the look we were going for. It’s not only been a huge help and a shortcut of sorts, but it’s also given a new feel to the visuals, with a direct connection to what’s happening on stage.” 

Richard Hill Photography

Richard Hill Photography

The arena stage presents technical challenges and creative opportunities for Ware.

“On a technical side - it’s figuring out how to make sure that everyone in the audience is able to see and understand the visuals and the action. But what I’m more excited about, is being able to play with space, direction, and surroundings to transport the audience and pull them through the show as an experience. In-the-round is such a cool way to watch - and put on - a show,” Ware said. 

Eberhardt died at age 27 in a flash flood, leaving a legacy about the power of transformation.

“One of my favorite things about live theatre and production, is the collective experience between the audience and the performers. And now, I feel that community and storytelling are so much more important. To be able to tell the story of a woman, who constantly defied the social norms of her time, and to realize that her life and choices would be just as daring today, is really inspiring and incredibly topical,” Ware said. 

“Isabelle was an anarchist, a nihilist, a Sufi mystic, and a wanderer. She completely rejected the constructs and expectations of society to pave her own path and live as a vagabond in community with her Sufi brothers. She serves as a beautiful example for us today as someone who crossed cultural boundaries and comfortably coexisted with people who were different from her,” Choquette said. 

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