The Metropolitan Opera stage is no stranger to warfare, but what happens when the conflict isn’t waged by a spear-wielding warrior but by a mezzo-soprano in a flight suit? Next week, 29-year-old Canadian Emily D’Angelo will take center stage at the Met in *Grounded*, a powerful and poignant opera that explores the complexities of drone warfare and its impact on the individuals who pull the trigger.
*Grounded* tells the story of Jess, a fighter pilot in the Iraq war who becomes a drone operator after an unexpected pregnancy. When she accidentally misses a target and crashes her drone, she is court-martialed and imprisoned, facing the consequences of her actions. The opera, based on George Brant’s 2013 play of the same name, delves into the psychological and emotional toll of modern warfare, highlighting the very human cost of drone warfare.
D’Angelo was handpicked for the role by Tony-winning composer Jeanine Tesori, who created the score specifically with D’Angelo’s voice in mind. Tesori’s music, reminiscent of Aaron Copland’s style, evokes the vast landscapes of the American West, where the opera is set, as well as the claustrophobic confines of a drone cockpit. The production, directed by Michael Mayer, makes use of giant LED screens to bring the visual storytelling to life, from soaring clouds to the chilling video game-like graphics of the drone’s kill sequences.
D’Angelo, who has been lauded as a rising star since winning The Met’s prestigious Laffont Competition in 2016, brings a compelling and nuanced performance to the role of Jess. Despite the rough and ready appearance of her jumpsuit and cropped hair, she bears a striking resemblance to fellow Canadian supermodel Linda Evangelista.
In a conversation with Vogue, D’Angelo discussed the challenges and rewards of originating a role in a new work, portraying a contemporary conflict on stage, and how she decompresses after a day of rehearsals.
Vogue:
What is the hardest thing about being Jess?
Emily D’Angelo:
The subject matter is certainly very heavy. It can always be tough when you’re living in these roles that are very serious and ultimately tragic. But everything that is difficult about this is remedied by the music and the art-making. There is always something else to focus on. You can go into the dark place with all of this, but there are moments in the music that uplift you so much. That is Jeanine’s genius; she lifts you out of the depth every time.
Vogue:
Have you heard from any pilots? I imagine the crossover of Air Force pilots and opera-goers is not huge.
D’Angelo:
In preparing for this in the last two years, I’ve come across a few, maybe three, in the real world. In DC there was a huge amount of exposure for us to people either who were military themselves, or [connected] by family relation. I’ve mostly met fighter pilots, not any drone pilots yet. George [Brant] especially was deep in as much information and exposure as he could get to the actual thing. We have tried to respect and honor their experience in every step of the process. This discipline and responsibility that we talk about, it lends itself to this project. It is inherent not just for the art, but also the subject matter. I can’t even begin to understand what they do…it is a big duty.
Vogue:
So to speak, war is in a lot of opera. Usually it’s more historical, but here, telling a story about a war that is pretty current, that brings up a lot of things for people. How have you experienced that?
D’Angelo:
It can be polarizing. Opera is no stranger to the subject of war. Just because it happened a very long time ago in the standard repertoire, doesn’t mean it’s any less real than when we are talking about [recent] events. This subject matter is current but also timeless…and the characters are so real. The relationships are so relatable, despite the very specific circumstances.
Vogue:
You’re opening an opera at The Met that was written for your voice. That must be so thrilling—but also daunting?
D’Angelo:
It’s a huge honor and also a huge responsibility. There are so many talented people who have something to say sitting with me, and it’s my job to deliver. I take that on very seriously, with a lot of discipline and focus and respect for everyone around me. We did a full run of it in DC. We’ve lived with it, so dropping in here now, it was a fresh beginning, but also with so much experience under our belts, and [a view toward] how that can evolve to become stronger.
Vogue:
What then do you do to decompress? To be yourself for a moment, outside of the *Grounded* world?
D’Angelo:
I move a lot—just walking or getting exercise is huge. I do Pilates; it helps with body awareness, breathing, alignment, and strength. I get to go to all of these great places, but you’re there to work, not to be a tourist. I try to get fresh air since we are so often in little rooms like this—though this room has windows, which is very uncommon!
Vogue:
When you’re out moving, what music are you listening to?
D’Angelo:
I love classical music, but it’s not my go-to for hanging out. I’m very into the ’70s and ’80s…my number one artist on Spotify would probably be Randy Newman. A lot of the stuff on my latest album is just what I’ve been really into the past year. Also a lot of Willie Nelson, Bob Dylan, the Beatles, and bands like like Ween. Isaak Opatz, I am super into. He is based in Montana and really amazing. [Tobias] Jesso Jr. also has an album that is amazing that I’ve been listening to recently.
Vogue:
Did you have a brat summer, Emily?
D’Angelo:
Oh my gosh, that is so funny, because my teacher, Trish, who is almost 80, she has been calling me “the brat” for 10 years, since she met me. When she saw that “brat” was becoming a thing, she sent it to me. I’m not sure I know what “brat summer” means, though.
Vogue:
Before we go, a big question. This piece deals with a lot of issues: motherhood, the ethics of a war waged from thousands of miles away, the effects of combat. What is *Grounded* saying?
D’Angelo:
*Grounded* is saying so many things. It is an homage to anyone who has served their country, or anyone who has had a difficult moment in her life. And [Jess] has an incredibly difficult moment in her life when she can’t afford to. It changes her life forever, though she ultimately does come through. The message in the end is that there is hope still. There is a light at the end of the tunnel for Jess.
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