Mikael Wiehe to weave into his life and his music

Wiehe open Folkoperans entrance doors for DN in a särdels colorful shirt. A majblomma on the breast pocket, dampens the visual volume a bit. The decision to launch the scenprojektet ”Have you seen the world” in two acts, with guest artists on stage and full orchestra pit was preceded by a lot of doubt, he admits.

" at First, I thought: ”Old man ... a lonely older gentleman on stage in two hours, which is lying about their history – how much fun will it be? My layers Pange, who came up with this idea, has actually helped me to take a step I never dared to take.

the dinner show, not a pure hit parade, either. Rather a tvåtimmarsblandning of music, mellansnack and flashbacks of a childhood and a artistliv with Malmo as a base. More than a dozen selections out of Mikael Wiehes plump songbook included.

– Fredrik Ekelund has written the script based on the texts that were included in a skivbox I gave out and interviews. We know each other since a long time, we go to Copenhagen and drink beer together.

the Actor and comedian Sissela Benn is, inter alia, on stage in the performance part, which covers Wiehes upbringing.

– for instance, when I as little will to Malmö in the toque and shorts from Copenhagen with my mother, who then divorced from my father, " he says and shifts to its more dramatic, slightly hoarse, scenröst: It is a dark novemberkväll 1952 and when I step into the apartment on the seventh floor at Limhamnsvägen 12B and the moonlight reflecting in the nyvaxade the parquet floor, I realized that I didn't just come to a new country – I had come to a new world. And I got it right: my new classmates in Ribersborgsskolan did not like my shorts.

that was marked by the second world war, a country where you may not be able to afford coca-cola, where you can not afford to import american films, but you had to take the ferry to Landskrona if you wanted to see Clark Gable kiss Scarlett O'hara in the cinema. (He turns on the föreställningsrösten again): A country where isköraren came out with blocks of ice to køleskabet and where smågossar that I went in shorts also in winter.

Mikael Wiehe describes the play's first act as an attempt to weave together its 72-year life, the music, and Malmö, as ”products of a rope”.

The where my shorts are replaced by long ditto, he gets a job in a jazzorkester, as he leaves – ”the conductor was a nazi ' – he does, among other things, a continued to go as artonåring 1964 (after having scrutinised the Hemingway's ”A moveable feast”), visits the Jeu de Paume museum and lives on Rue Jean-Jacques Rousseau near the Louvre museum. The whole world is in front of him.

I met Björn Afzelius and we play together all year and so he will die and Fjellis (guitarist Jan-Eric ”Fjellis” Fjellström, many years of musicians) and my father in the same year, 1999, and so is the break, " he summarises.

In the second act, the introduction of Mikael Wiehe already its femtioårskalas behind him. Malmö-memories follow, Kockumsvarvets the rise and fall – and, not least, the wild snow storms that howled through the residence in the late seventies. In the radio warned P4-legend Karsten Erichs of the population: ”don't Go out – there is a militärkolonn to Falsterbo”, remember Wiehe.

the long journey through The Wiehe-country ends with artistkollegan Edda magnason the film actress. She sings Wiehe-songs with and without the halvdanske author on the scene. Sissela Benn , one of the daughters, asks himself: ”But where was I?”.

" No, but I and the Edda makes the ”new voices sing” together as a response.

He wrote the song in 1988, about how death is not the victories but the time starts over ”for the songs about life that can never respectively / shall new voices to sing”. Monica Zetterlund contributed to its notoriety.

" Really – and how to continue? Where is the man? Fixed after we played the show in Malmö eleven times I was out and did thirty concerts myself and it is also amazing to get to do – to just lean against its single instruments, the guitar and have the audience in his hule hånd.

– It is clear, but you can't go around with a symphony orchestra, it is practically and economically impossible. But it ... is fun and varied to do a great performance and it gives one a different perspective.

– It is why I am not tired of this profession. I would not been able to travel around and play Hoola Bandoola-songs year after year, it had felt like a huge setback, inculcates, he will at a to the clarification anecdote:

" I saw Bill Haley in Malmö type in 1965, he was then ten years and twenty kilos, broader than he was when he broke through. The Beatles had arrived, and his music felt so fucking old. It is not possible to get stuck in an expression like that. I have written balettmusik, worked with choirs, rapper Sebbe Stax, Emil Jensen and string quartets, and has translated Dylan, Tom Waits and Leonard Cohen also. It has been fun.

" No. It is more of a job now. I think I'm playing a set of five snippets of music in a week on my minibandspelare. So it will be perhaps two hundred music video clips a year, but only ten, fifteen, goes to develop. And it's easy to get stuck in things, or the rhyme you wrote before, " he says.

Latheten must be fought, " explains Wiehe, otherwise take it over. And ideas can pop up anytime and anywhere.

He tells the story of a newly composed song about an aged man whose work is to open the gate in a bullring for the bulls to be forced to run out of the circular amphitheater to die.

" I was in Spain and saw what I believe will be my last bullfighting – I am defending not the business – and suddenly see this old man at the arena gate and he had a way to do with me. I have also been a long time in arenas, and my body is starting to fail and the tank is sluggish.

– Some artists are comfortable in the role I have, as a Bear (Afzelius), others want to play the trumpet or sing about his heart pangs. I feel a little better if they have something to say, but of course you have to not always have it.

– I also listen to music that does not at all have any political message, very much in Bach for example and anything is possible. I am grateful that I as an artist can talk about completely different things, things that I think are important, beautiful, terrible, exciting, fun. It should not just be to run the message down in the neck of the people. It will not be good.

"I'm crying of motion when I see Greta Thunberg, be interviewed and then I think ”well you can't possibly sit here and (!” and so I have to change my flight reservations to train tickets," he says.

" It is all the time such young people that makes me hopeful. I'm an old man now and vridscenen shift but that you can do something about it, but you can support those who can make it – as my comrades in Nicaragua today. And I do.

” a financial statements?

" No, I have not thought of – but what do they know? You never know. But I'm going out on tour this autumn – and I have made a new album with Dylan-interpretations together with Ebba Forsberg. And so, I hold on with a custom rom also. I am working on.