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Here Comes Messiah

a mono-opera for soprano and orchestra

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Most memorable for me was Mátti Kovler's Here Comes Messiah. His music bore a resemblance to Bernstein's filled with all the same joy and wonder

Pete Matthews  Feast of Music


Here Comes Messiah, commissioned by Carnegie Hall for the 2009 Upshaw/Golijov Workshop, follows a young woman through three stages that culminate in giving birth and oscillate between comedy and revelation. In the hospital soon to give birth, she is accosted by “chattering behind her back”. She insists all is normal and as it should be.
In Act 2, she can no longer deny her fate and her fear rises. She attempts to push down her fear with fantasies about her “cotton candy”, her sweet baby, and the niceties for him. A frightening vision of a descending falcon seems to threaten her child (the text builds a gradual allusion to the falcon and other elements in W.B. Yeats’ The Second Coming). Transitioning, both in terms of labor and delivery and into the final Act of the piece, she suffers the acute pain of being chosen and asks the ultimate questions, “Why me? Why my child?”
Written by Janice Silverman Rebibo




Symphonic Version


Chamber Version

Sopr, cl, vln, vla, 2 vcl, acc, p-no

March 8, 2009


Carnegie Hall, NYC

Tehila Nini Goldstein - Soprano

Allan Pierson - Conductor

Libretto by

Janice Silverman Rebibo


​Here Comes Messiah was clearly marked with the Kovler stamp. Mátti’s instruments are not merely textural tools, but characters themselves. There was no question that we were not watching a poem with orchestral accompaniment, but instead the group effort of a large cast of players – in which extraordinary poet-translator, Janice Silverman Rebibo unambiguously belongs. Mátti was at the piano, and he brilliantly made use of it in this passage, as both a harmonic and percussive instrument, driving the sound of the others around him. Although his part in Here Comes Messiah is less central than in his Cokboy, and the work revolves around a woman’s experience in child birth, it is, nonetheless, entirely an extension of Matti himself. He is wholly present in his music, and not simply because of his compositional language or aesthetic. The audience does not need to be introduced to the composer, or his thought process, to become privy to his internal world – he wills us to come in.

Sophie Delphis Grade A Entrepreneurs 

Here Comes Messiah | Jordan Hall (2010)

Tehila Goldstein, soprano

24:50 min, chamber version (full)

Here Comes Messiah | GogolFest, Kiev (2017)

Reut Rivka, soprano, Ukraine State Pops Orchestra, Mykola Lisenko - conductor

22:39 min, symphonic version (full)

Here Comes Messiah | Tsai Performance Center (2011)

Reut Rivka, soprano

22:52 min, chamber version (full)

Here Comes Messiah | Collector Gallery, Moscow (2012)

Reut Rivka, soprano, Matti Kovler, conductor

3:02 min, excerpt




Amanda Cooper, ALC Management 



Inquiries for ‘Here Comes Messiah’, ‘Ami & Tami’, ‘The Drumf & the Rhinegold’:

Floating Tower

Erin Simmons, producer


139 Jackson St. Suite 4B 

Brooklyn NY 11211

tel: +1 469 826 0000

Mátti Kovler's scores and recordings are published exclusively by BarkolMusic [ASCAP] and Floating Tower Records. 


Inquiries regarding all European engagements: 

World Entertainment Company

Luca Ceretta, managing director

Király utca 56. 1. em 5

1068 Budapest

cell HU +36 3067 49980

cell ITA +39 329 472 1404

For Repertoire advice, commission inquiries and general information about scores and individual works please contact Mátti directly at

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