The opera’s libretto is a modern interpretation of The Book of Job, a very unique book in its complexity and the depth. It’s a story about the man who with such a terrible fate scenario remains true to his faith and ideas. But the main role here belongs not for the Job, but to the prepared piano that turns into the equivalent of an entire percussion orchestra, cymbals, harp, strings, and keyboard. Returning to the John Cage’s prepared piano experiments, it goes far more beyond, and mixes a dozen of genres – from music allusions to baroque and medieval music to Ukrainian folklore and hip hop, while following the canonical structure of the Requiem it shows that even ancient forms can be very up to date.

In the interview Troitsky noted that his main method of creating operas was a leadership to inspire performers, composers, musicians to experiment and to create something new and unusual together. As he mentioned it’s important for him to have performers who can think and who were whiling to add their ideas to the process of a creation. “IYOV” was created during only two month and performers say that it’s partly improvisational.

The result is an emotional, spiritual overload. The opera keeps your attention, because there is not only the singing, it’s a performance, a living experiment, opera singers accompanied themselves by holding strings, doing the percussion inside the piano, working as one organism. Between arias the actress who stands on a very top of the metal construction reads Biblical texts, as if symbolizing the old wisdom that exists above all the people. By pressing certain strings of a prepared piano it can begin to sound terribly impressive and while mixing it together with biblical texts – truly post-apocalyptic. In the end the music slowly stops and musicians one by one begin to move towards the audience with their instruments; the last notes are played right near the audience’s seats.