“L’Amour de Loin” (Love from Afar) is a new opera about an old human condition: longing for love and connection. Because it is based on historical figures and involves distances, obstacles and boundaries, it is also timeless.

At 11 a.m. Saturday, The MET Live in HD will present Kaija Saariaho’s short opera about a prince who pines for an ideal lover. A messenger arrives telling him such a woman exists. What to do? The story is as simple as that.

Loosely based on the life of Jaufré Rudel, a bored, world-weary 12th-century French troubadour, the tale evokes the age of chivalry. At the beginning of the opera, Rudel’s pals try to jolly him out of his ennui. But he persists in yearning for the impossible – the ideal woman: beautiful, kind and undemanding. A pilgrim arrives and says such a woman truly exists. She’s Clémence, the countess of Tripoli, and she’s “beautiful without the arrogance of beauty.”

Energized, Rudel devotes his life, energy and musical talent to writing a body of songs about Clémence. The messenger travels back and forth to Tripoli, acting as a go-between. The Pilgrim tells the Countess about Rudel’s devotion and reports back to Rudel about her interest.

Rudel’s longing deepens, and the remote possibility of their meeting fuels his passion.

Clémence, who has also struggled with boredom and lovesickness, is deeply moved but shy about meeting her admirer.

At the beginning of Act II, Rudel finally embarks on a voyage but dreads meeting the real Clémence. The final scene, not to be given away here, will be carried on the oceanic tides of Saariaho’s powerful music. The story may be simple, fairy tale stuff, but the music is transcendent and of our time.

Saariaho, 64, is a Finnish composer known for her “luminous washes of iridescent color.” Her works are described as other-worldly. Traditionalists will be happy to hear that her harmonics are grounded in tonality, and she’s integrated a number of influences. In harp arpeggios, you can hear echoes of troubadour music. In rhythms, listen for medieval dance. Overall, Saariaho’s sonic landscape is luxurious, dreamlike and modern.

Saariaho collaborated with the Lebanese-born writer Amin Maalouf, to create a story of love from afar. It is sung in French to capture the flavor of the medieval troubadours.

In 2000, the opera premiered in Salzburg and has since been performed all over the world. In 2002, it received its American premiere in Santa Fe. I was lucky enough to see it. Saariaho was there, and her music swept over the audience like a series of tidal waves. Miraculously, the stage became a watery sea with two flanking towers representing the domains of Rudel and the Countess. The role Dawn Upshaw created in Salzburg and Santa Fe will be sung at the MET by soprano Susanna Phillips. Bass-baritone Eric Owens will sing the troubadour prince and mezzo Tamara Mumford is the Pilgrim.

The original production for Salzburg and Santa Fe was conceived by Peter Sellars. The Met invited Canadian director Robert Lepage to reconceive the work. Apparently, Lepage has crafted a different Mediterranean Sea on stage at the MET with strings of LED lights. The Finnish conductor Susanna Mälkki will be in the pit.

Opening performances have received high praise by international critics, and we are incredibly lucky to seeing a matinée streamed live to Fort Lewis College.

Judith Reynolds is an arts journalist and member of the American Theater Critics Association.

If you go

What:

The Met: Live in HD presents Kaija Saariaho’s “L’Amour de Loin.”

When:

10:55 a.m. Saturday.

Where:

Vallecito Room, Student Union, Fort Lewis College.

Tickets:

$23, $20 for seniors over 65 and children, $5 for FLC students with ID, available at the door or online at www.durangoconcerts.com, by phone at 247-7657 or at the Welcome Center at Eighth Street and Main Avenue.

More information:

Running time is two hours, 50 minutes. Sung in French with English subtitles.