Review finds Charon a vivid blend of myth, humour and modern music

ERR has published a review of Charon, a new Estonian opera by composer Tõnis Kaumann and librettist Andrus Kivirähk. The world premiere took place at the Estonian National Opera on May 29, 2026, followed by a premiere with the second cast on May 31.

The opera draws on the myth of Charon, the ferryman who carries the dead across the River Styx to the Elysian Fields. The reviewer describes the material as well suited to opera because it feels both archaic and contemporary, while avoiding the happy endings that were uncommon in ancient stories.

The production also creates a distinctly modern version of the myth. Cerberus appears not only as a guard dog but also as Leyla’s pet and playmate. This combination of contemporary mythmaking, clear characters and humour is characteristic of Kivirähk, the review says, making the audience laugh while also encouraging deeper reflection.

Kivirähk and Kaumann are described as a strong creative partnership, united by an alert and searching spirit, a fondness for unexpected turns and a shared sense of humour. Their work is also marked by a certain simplicity and practicality that nonetheless produces moments of surrealism.

Kaumann’s music combines old and new. It uses traditional musical forms and compositional techniques, including the first-act chorus, the chaconne “One Last Journey” with a canon and basso ostinato, as well as contemporary tonalities and harmonies. Some passages, including the opera’s ending, resemble the sound of American cinema.

The composer is praised for his beautiful melodies and his mastery of vocal writing. The overture follows the classical model of summarising the opera, introducing its main themes, including those associated with Cerberus, law and love. It also contains a brief, Disney-like climax.

Although Kaumann has said that Charon contains fewer musical quotations than his other works, the review notes that listeners may still make their own connections. The reviewer briefly wondered whether a passage before the Cerberus motif recalled Veljo Tormis’s music for the film Spring.

The overture is described as musically engaging, brilliant and at times virtuosic, while also giving the orchestra a prominent role. The reviewer hopes it will eventually be performed as an independent concert piece.

Kaumann’s experience with polyphonic singing, including his long membership of the ensemble Vox Clamantis, is particularly evident in the choral writing. The through-composed chorus numbers feature inventive harmonies, and the Estonia National Opera chorus was well prepared, with a strong balance between voices, excellent legato and a soft, beautiful piano dynamic.

The opening chorus and the chaconne “One Last Journey” are singled out for praise, as is the final chorus, “Oh, Charon!” The staging of the choral numbers, however, still seemed somewhat underdeveloped.

The production is directed by Üllar Saaremäe, with Kaspar Mänd as musical director and conductor and Lauri Sirp as conductor. Jaanus Laagriküll designed the sets, Rasmus Rembel the lighting, Ketlin Saaremäe the costumes and Rene Topolev the video design. Mehis Saaber is the choreographer and assistant to the chorus director.

The cast includes Tamar Nugis or Raiko Raalik as Charon, Kadri Raalik, Elena Brazhnyk or Kristel Pärtna as Niobe, Priit Volmer or Mart Laur as Hades, and Karis Trass or Aule Urb as Leyla. Juuli Lill or Helen Lokuta play the Soldier, Heldur Harry Põlda or Rafael Dicenta play Hypnos, and Mart Madiste or Reigo Tamm play the Moneylender. Arina Kotova appears as Niobe’s alter ego, while Mehis Saaber appears as Charon’s alter ego.