To get a contemporary opera performed at the main stage can be delayed for more than a decade. It goes without saying that the present age has already been running on as the music composer and the librettister has gone from thought to action.
one of the reasons why contemporary operas in the choice of the older, so-called ”timeless” stories that matter. Why is the Royal Opera’s bet on the novelloperor as a liberating counterweight. Under the theme ”Short stories II” (presented for the second time in three twenty-minute-long operas that can really be felt in the here and now.
in the ”Value creation” by: Viktor Aslund (who also translated Hermann Schneider in it), place the two the world of finance, with the lax morals of the bar, with a flashing share prices of the fund. These gentlemen, who cleverly calls himself mr. Dow and Jones soon joined by two women, one dark, and mysterious story that ends with a scream.
the Questions more than the answers. The text is throwing out thoughts about migration, and making a donation. If, in a market where everything can be attributed a financial value. Åslund of the sound of music thunder in the which is the best way to the outside world, at times with the ticking of the pulse and a little bit of nattklubbsjazz that förförelseakt. But the feature soloists don’t get much for free as they try to navigate between a comedy and a thriller-like atmosphere, which is not really supported by the score.
to make use of in their turn the potential to the maximum, sets the mood immediately with a heavy trillande of the toner, and then do one constantly exiting out of the ordinary. ”I’m going home,” with a libretto by the poet, Lotta Olsson, who is about parterapi. The therapist (Anders Blom) has been stung by a scam, but I try to keep up appearances-to encourage the bleckblåsfigurer.
In his terapisoffa seated Man, Thorvald Smith) and a Woman (Therese Badman Stenius), and the gnabbas about the little things. If felklämda tubes in a ettrigt twice and get the rub, even in music. While it is broken, the Therapist give her a pink toaster oven, as though they were his own heart. ”How small can the all the major be?”, wondering, before bröllopsklockor re-send, in this warm, humorous, and välregisserade a reflection of the obetydligheterna that is easy to get in the way of the kärlekslyckan.
the move is also Andrea’s Tarrodis operatic debut in ”In the H”, is inspired by hjertén’s art ”Ateljéinteriör”. The subject describes the Hjerténs the feeling of being torn between three roles: a femme fatale, mother and artist. The dulcimer and the sordinerat bleckblås suggests that something inside is about to burst.
She (Katarina Böhm) is in a psychiatric hospital, and a look back at their tense several years. One moment, she takes the flärdfullt tone of a comic opera, and in the next, she finds herself sandwiched between mr. green and mr. gredelin in the red of the couch. ”The colors have to sing it,” the Catherine Aronssons the text, and they do indeed make the Tarrodis of music, where the palette switches between the impressionistic the burgeoning lullaby, and it’s tivolivalsande burlesque.
In particular, the ? and Tarrodis novelloperor will find their way to a sångbar and around high density, which indicates, on the musikdramatikens the ability to be able to tell you something is great even in a small room.
to Read more texts by Johanna Paulsson, and more and more of DN’s scenrecensioner.
