Claire Devon, the protagonist of Missy Mazzoli’s seductively nightmarish opera “The Listeners,” is living contentedly as a suburban schoolteacher somewhere in the Southwest when she is beset by an inexplicable, inescapable sound. It is described as a “dull hum,” an “aggressive drone,” which renders daily existence intolerable. As she searches for the source of the noise, her life unravels by degrees. She develops an ill-defined, ill-fated attachment to one of her students, who also hears the hum. Her husband and her daughter move out; the school fires her. She falls in with a psychiatrist, Howard Bard, who presides over a cultish association of Listeners—people attuned to the hum. When one of them, a conspiracy theorist, fires a gun at a cell tower, the police spring into action and violence ensues. The ending is as unexpected as it is unsettling. Instead of fleeing the cult, Claire takes control of it, the hum having awakened charismatic powers within her. “We all need a family that understands us,” she intones, as Listeners crowd around her.
This story is from the October 14, 2024 edition of The New Yorker.
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This story is from the October 14, 2024 edition of The New Yorker.
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