One of the profound projects I was invited to take part in—Die Andere Frau, an opera by the German composer Torsten Rasch—was sadly put on hold for two years during the Covid pandemic. It was a major commission by the Semperoper in Dresden, one of the oldest and most storied opera houses in Europe.

While the world was in lockdown, and we were all confined to our homes, a request came from Villa Massimo (the German Academy in Rome) that sparked a new collaboration between Torsten and me. We began working on an album that included selections from his opera as well as other sonic explorations we were both excited to pursue.

In Die Andere Frau, I was cast as the "Eye Witness"—a voice emerging from ancient memory into modern consciousness, singing a libretto drawn from biblical themes in two of the most hauntingly beautiful and archaic languages of antiquity: Sumerian and Akkadian. Only a few Oxford linguists—often in scholarly disagreement—know how these languages might have truly sounded. Already fluent in Persian, the sublime language of wisdom and romance, I felt deeply at home in these ancient tongues. Vocally, it was as if I had entered a state of aural bliss, though not bliss alone. It was a space where beauty and shadow intertwined, like the yin and yang of human experience: sacred, unsettling, luminous, and dark.

We began work on the album remotely. I self-engineered the vocal recordings in my home studio in Los Angeles, and we mixed and mastered everything virtually with our team in Rome. It all felt like a kind of miracle—powered, of course, by a great deal of love and labor.

And now, I’m thrilled to share that the album, titled Songs of UR, will finally be available on Bandcamp starting this June. Amen!

The beautiful album cover by Tatjana Doll evokes what could be imagined as the visual remains of these ancient languages—a haunting echo of forgotten scripts and lost civilizations.

In early 2022, the Semperoper in Dresden made a courageous decision: to stage Die Andere Frau at the tail end of the Covid pandemic. The opera ran for five nights, with limited audiences and strict safety protocols—daily testing was mandatory for all cast, crew, and attendees.

In a striking artistic choice, both the audience and the performance took place on the opera house stage itself, leaving the vast, exquisite auditorium behind us—empty and silent. As the Eye Witness, I stood alone in that grand space, surrounded by the ghosts of music and memory. It was haunting, surreal, and unforgettable. TBC

In early 2022, the Semperoper in Dresden made a courageous decision: to stage Die Andere Frau at the tail end of the Covid pandemic. The opera ran for five nights, with limited audiences and strict safety protocols—daily testing was mandatory for all cast, crew, and attendees.
Spending time in this magnificent opera house—renowned for its devotion to the works of Wagner and Strauss—was an unforgettable experience, especially after the long isolation of lockdown. To be back on stage, immersed in music, was already a gift. But meeting and hearing the powerhouse Wagnerian divas of the company—artists of incredible vocal strength, stamina, dramatic depth, and the kindest energies—was deeply humbling and inspiring.

Due to strict Covid safety protocols, we underwent daily testing before and after entering the theater. Given the circumstances, we all agreed that the final night of the run—when we were most rehearsed, settled, and ready to fully deliver—would be the best moment to film the performance.

Tragically, on the morning of that final show, our conductor tested positive for Covid. The only existing footage ended up being from one of the earlier warm-up performances. What you see in the promotional videos is all that remains—our one and only document of the production.

In a striking artistic choice, both the audience and the performance took place on the opera house stage itself, leaving the vast, exquisite auditorium behind us—empty and silent. As the Eye Witness, I stood alone in that grand space, surrounded by the ghosts of music and memory. It was haunting, surreal, and unforgettable.

I want to take a moment to acknowledge and thank Torsten Rasch for the beautiful and timeless experience he created, and for introducing me to the brilliant divas he invited into his world. Though we came from such different backgrounds, the love and friendship we shared throughout this journey will always stay with me.

Die Andere Frau / The Other Wife (2022)

Opera by Torsten Rasch

3D Mapping Visuals: László Zsolt Bordos

Produced by: Semperoper Dresden, 2022
— Abram: Markus Marquardt
— Sarai: Maria Magdalena Hofmann
— Hagar: Stephanie Atanasov / Annelie Sophie Müller
— The Eyewitness: Sussan Deyhim