Operarecension: Nina Stemme and Katarina Karnéus luster to sekelskifteskvinnor

in the Years after the turn of the century 1900 stretched even the music out on the divan. Both Schoenberg that Bartók was inspired by psychoanalysis and symbolism with the forest and the castle as a metaphor for the inner känslolivets thickets and closed doors. Enaktsoperorna ”Erwartung” (”Expectation”) and ”Knight Blåskäggs borg” performed together, this time as dubbeldrama in konserthusmiljö. Körläktaren has been developed to provisional stage, but something densified chamber play, it becomes not really in the stage and ljussättaren Bengt Gomérs directed.

Nina Stemme and mezzo-soprano Katarina Karnéus in the house are needed at the same time not do much to create musical magic. The vetenskapsvurm is portrayed by extras who, for a little bit for the long silence perform an autopsy behind a cover. What is left is a couch and a video screen. Schoenberg's thirty minutes long ”Erwartung” unfolds in a single, dizzying second with a single role in a kind of dream play that took its cue against Strindberg's popular pjäsmodell. Karnéus makes the non-named Woman who is looking for her lover and finds him dead. But the questions along the way are far more numerous than the answers.

the Libretto was written by medicinstudenten Marie Pappenheim, well acquainted with Freud's ideas. Possibly also with Schoenberg's personal love triangle; his wife eloped with the painter Richard Gerstl. However, the couple reunited and Gerstl committed suicide. The form is the internal monologens and the expressionistic the music follows the dramatic beautiful stream of consciousness far beyond the tonalitetens safe harbour. Karnéus textar exemplary clearly in German and have a creative capacity which is above time and space. The moon may have been replaced by fluorescent lamps and the path of a clinical corridor. But the Philharmonic chief conductor Sakari Oramo brings a rare sensuality from this evocative pursue music, where everything seems to be in the resolution.

Judith goes a husesyn that ends with horror. Behind Blåskäggs doors, she finds the darkness of his soul: a torture chamber, a lake of tears and, finally, his former wives.

it is late-romantic foundation more intact, as well as folkdiktningens stricter meter, expressed in the original language is Hungarian. But in spite of that the soul can fall apart and librettist Béla Balázs called ”Knight Blåskäggs borg” for a ballad about the inner life. The young Judith (Stemme) has just married knight Blåskägg (German Johannes Martin Kränzle with both tender and stately barytonpondus) and goes a husesyn that ends with horror. Behind Blåskäggs doors, she finds the darkness of his soul: a torture chamber, a lake of tears and, finally, his previous wives – and here the extras included in the gossamer veils.

the Actual staging will be from time to time, involuntarily parodic. When Kränzle unwieldy release a half-armful of cut flowers over the heads of the Stemme or when the two clamps around in a gravlik mound. But vocally speaking, it is världsvasst when two of the country's major operaröster shows the same kind of seductive luster as sekelskifteskonstens edged Klimtmotiv. And this to a great orkesterspel with both sting and transparent luster. Laura stephenson's harp glitters, also a little extra in these ”fairy tales of our existence”, as it is called when Karnéus river of ”Knight blåskägg”-the prologue in Swedish.

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