Langgaard Antikrist
A vindication of a composer’s vision once lambasted as incomprehensible
View record and artist detailsRecord and Artist Details
Composer or Director: Rued Langgaard
Genre:
DVD
Label: Dacapo
Magazine Review Date: 12/2005
Media Format: Digital Versatile Disc
Media Runtime: 95
Mastering:
Stereo
Catalogue Number: 2 110402
Tracks:
Composition | Artist Credit |
---|---|
Antikrist |
Rued Langgaard, Composer
Anne Margrethe Dahl, Spirit of Mystery, Soprano Camilla Nylund, (The) Great Whore, Soprano Danish National Choir Danish National Symphony Orchestra Helene Gjerris, Echo of Spirit of Mystery Helene Gjerris, Mystical Voice John Lundgren, Hate, Bass Johnny van Hal, (The) Lie, Tenor Jon Ketilsson, (The) Scarlet Beast Morten Suurballe, (The) Voice of God Poul Elming, (The) Mouth Speaking Great Things, Tenor Rued Langgaard, Composer Sten Byriel, Lucifer Susanne Resmark, Despondency, Soprano Thomas Dausgaard, Conductor |
Author: Guy Rickards
Antikrist on DVD, in a production by the Royal Danish Theatre? What Langgaard would have made of that is anyone’s guess, especially given the history of rejection his allegorical opera suffered at the hands of that institution’s directors. But, as their production (eventually) triumphantly shows, the work as a whole is far from ‘obscure’ or ‘highly inaccessible’, and it is those earlier judgements that now seem ‘completely foolish’.
Yet the opera is not without its problems. The title-character never appears; only two roles feature in more than one of the six scenes plus prologue (and then in just two); and there is no clear narrative progression. Staffan Holm’s solution is simple but effective, with a staging, set in the beautiful Ridehuset (Riding School) in Copenhagen, treating the opera as a modern mystery play where church members (who have a 19th-century feel) come together to act out this moralistic fable, the sect leader – who takes the role of Lucifer – assigning the roles. Lucifer only sings in the prologue but is choreographed throughout, watching and pulling strings. The production takes a while to settle down, with some rather aimless scurrying about and gesticulation in the long early interludes, but once Susanne Resmark takes centre stage as Despondency in Scene 3, the whole concept comes together.
The cast is very strong, particularly among the female singers, with Helene Gjerris and Camilla Nylund – who clearly relishes her role as the Great Whore – outstanding. So, too, are Jon Ketilsson and Johnny van Hal but greatest plaudits go to Thomas Dausgaard for moulding the superb accompaniment, so much stronger than the Tirol Landestheater on Danacord’s audio recording (1/00). Dacapo’s sound is superior, too, and there are two fine documentaries to complement a splendid issue.
Yet the opera is not without its problems. The title-character never appears; only two roles feature in more than one of the six scenes plus prologue (and then in just two); and there is no clear narrative progression. Staffan Holm’s solution is simple but effective, with a staging, set in the beautiful Ridehuset (Riding School) in Copenhagen, treating the opera as a modern mystery play where church members (who have a 19th-century feel) come together to act out this moralistic fable, the sect leader – who takes the role of Lucifer – assigning the roles. Lucifer only sings in the prologue but is choreographed throughout, watching and pulling strings. The production takes a while to settle down, with some rather aimless scurrying about and gesticulation in the long early interludes, but once Susanne Resmark takes centre stage as Despondency in Scene 3, the whole concept comes together.
The cast is very strong, particularly among the female singers, with Helene Gjerris and Camilla Nylund – who clearly relishes her role as the Great Whore – outstanding. So, too, are Jon Ketilsson and Johnny van Hal but greatest plaudits go to Thomas Dausgaard for moulding the superb accompaniment, so much stronger than the Tirol Landestheater on Danacord’s audio recording (1/00). Dacapo’s sound is superior, too, and there are two fine documentaries to complement a splendid issue.
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