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Wilhelm PETERSON-BERGER (1867-1942) Domedagsprofeterna (“The Doomsday Prophets”, comic
opera in 3 acts — excerpts, 1917) [79:19]
Lennart Sporre,
captain - Mikael Samuelson (baritone); Elin - Solveig Faringer
(soprano); Lars - Thomas Sunnegårdh (tenor);
Klas Mugg, Elin’s father - Göran Annebring (bass); Johan
Bure, Professor - Bo Lundborg (bass); Simon Wolimhaus - Sven-Erik
Alexandersson; Rector Magnificus - Curt Appelgren; Drottning
Kristina - Inger Blom; Bengt Skytte - Lage Wedin; Fru Kerstin
- IngMari Landin; Gorvel Mardh - Gunnel Bohman; Johan Papegoja
- Nemgt Krantz; Brita - Catharina Olsson
Other roles by members of Orfeo Drängar and the Allmänna
Sången/Robert Sund
Swedish Radio Symphony Orchestra/Ulf Söderblom
rec. Stockholm, Swedish Radio, radio broadcast, January 1984.
DDD STERLING
CDO1069-2 [79:19]
The Doomsday Prophets was the
fourth of Wilhelm Peterson-Berger’s
five operas and was composed between
1911 - when he completed the libretto
- and 1917. It was moderately successful
for a Swedish opera, being performed
over twenty times at the Stockholm Opera
following its premiere in 1919. It fell
into near-total neglect after his death.
Despite the portentous title, this is
a comic opera, perhaps after the example
of Die Meistersinger, with which
it has occasionally been compared. As
in Wagner’s opera, Peterson-Berger set
his in Sweden’s past - although based
on an apparently real event and featuring
several historical characters - just
before the close of the Thirty Years’
War in which Sweden became for a time
a major European power. The opera has
crowd scenes, disputes between academics,
a bar brawl, a love triangle, the threat
of ruin for several hard-working ordinary
folk and some disagreeable minor nobles
as well as the arrival of the Queen
in the final scene to set everything
to rights — all the elements a good
comedy demands!
Set in the university city of Uppsala,
the complex plot hangs on a wager between
the professor, Bure - one of the real,
historical personages - and the Queen’s
apothecary, Simon Wolimhaus, as to when
the world will end. The professor seems
fated to lose and as a by-product of
the terms of the wager the local innkeeper,
Klas, and his daughter, Elin, will be
evicted from their home. The flirtatious
Elin is in love with the studious Lars
who, because he is of peasant stock,
is being bullied by the nobler students.
Lars’s aunt is also endeavouring to
match him with her own daughter. However,
Lars gets himself arrested for threatening
his tormentors with a pistol and is
arraigned before a university tribunal
from which he might well be expelled.
This will dash his hopes of a career
in the priesthood — well, he is descended
from Vikings! — and marriage to Elin.
All is saved through the timely intervention
of a visiting army captain, Lennart
Sporre, who proves to be the leading
character of the opera. He it is who
convinces Klas to let Elin marry Lars,
if cleared, and who sets fire to Wolimhaus’
dog kennel which — and here things get
really convoluted — invalidates the
terms of the wager. This is because
in the event of the world not ending
when either ‘prophet’ predicted, Bure
and Wolimhaus were to exchange all their
property; as the fire devalues the latter’s
effects the values are altered and the
agreement nullified. Sporre it is who
also convinces the populace and the
visiting Queen that Lars should be pardoned.
The extracts given here are from an
abbreviated performance made in January
1984 for a Swedish Radio broadcast.
Why Sterling did not issue the entire
work on (presumably) two discs, even
in the reduced form, is not explained
and regrettable as the music is certainly
strong enough to stand being heard in
toto. The thirteen excerpts, of
varying lengths from between 2:17 and
21:27, assembled here provide a good
overview of the essentials of the plot
if not a coherent picture of the opera
as a whole; the slightly untidy fadings
in and out - necessary to cram as much
on to the one disc as possible - and
the jumps between scenes militates against
this. There is a good deal of background
noise - or special effects, if you will
- to add a sense of the theatre to what
was otherwise a studio recording: clinking
crockery in the bar, the tamp of soldiers’
boots, incidental noises of crowds in
the street, and so forth. As it is,
Peterson-Berger’s music is bright and
vivid, lyrical and charming by turns,
its composer evidently dramatically
aware, the whole sounding theatrically
viable. The music, as in most comic
operas, is not explicitly funny in itself,
the opera being a comedy in the same
way that Shakespeare’s comedies are,
by ending happily and not in tragedy.
The cast acquit themselves with distinction,
particularly Mikael Samuelson in the
lead role of Captain Sporre. Solveig
Faringer is breezy and girlish as Elin,
Thomas Sunnegårdh stolidly ardent as
the hot-headed Lars. There are many
fine cameos - a result of the truncated
performance - amongst the remainder,
not least Bo Lundborg as the distracted
Johan Bure. The orchestral accompaniment
is sympathetically played under Ulf
Söderblom’s sensitive direction and
Sterling’s remastering of the 23-year-old
sound more than acceptable. Stig Jakobson
provides informative notes which, as
with the libretto for those sections
which are sung here, is presented in
Swedish and English. They contain an
interesting aside on the humiliating
initiation rites students were forced
to undergo — often in defiance of the
law — in Swedish universities. What
a shame that the entire work was not
made available.
Guy Rickards And a further perspective from Rob
Barnett:
The five Peterson-Berger operas were
distributed evenly across his life with
the first - Sveagaldrar - written
in 1897 and the last - Adils and
Elisif - in 1927. Fame during his
lifetime was attributable to his music
criticism which was as ferocious as
that of his countryman, fellow dramatist
and symphonist, Kurt Atterberg. He wrote
Domedagsprofeterna between 1912
and 1917 for most of which period the
Great War raged in the rest of Europe.
Amid the ritual humiliations of first
year students the backdrop to the opera
is the Thirty Years War and, in the
foreground there are the perils and
pleasures of two couples whose ultimate
happiness crowns act III.
It is to be expected of any Sterling
production that every aspect will be
exemplary. Making allowance for the
inherently unsatisfactory nature of
any excerpts project everything here
is just as it should be. The excerpts
are generous. Technically there is no
need for reservations about this being
derived from a 22 year old radio recording.
The occasional end-track fade-downs
are regrettable but once the project
was fixed to be on a single CD what
else could practically have been done?
I should also add that the plot is aided
by the use of aural effects including
the sound of a table being laid, knocking
at a door and a thunderclap. Voices
are intimately recorded close up to
the listener - a delightful feature
given the well chosen voices for Elin
and Klas.
Scene 1 immediately introduces the listener
to this composer’s translucent scoring.
In those first few moment Peterson-Berger
accelerates from solo dialogue into
music that is light on the palate with
waltz elements integrated into the orchestral
skein. At one moment this is close to
Lehár; to the beguiling banter of Rosenkavalier
at others. The flow tends to be
driven by the conversation rather than
by the music. The composer's mastery
of blithe writing and translucent orchestration
is well exemplified by Act I sc. 13
with its delightful repartee - musical,
conversational and sensuous - between
the trio of Fru Skytte, Lennart and
Gorval. Real excitement is generated
in the encounter at the inn (Act I sc.
18), a crowd scene in which Lars terrifies
the students with a pistol.
Two scenes are extracted from act II.
Scene 12 sets out a gently pastoral
wind serenade capturing the coolness
of early evening. This develops into
a fugal fantasy. There is carefree Sibelian
writing for Elin in Act II at 14:12.
The last Act is represented by scenes
2 and 9-11. This includes joyous student
singing typical of the Swedish choral
idyll tradition (tr. 8 2:02). Scene
9 mixes grand serious music with slightly
absurd trumpeted ceremonials and student
songs in the manner of Gaudeamus
Igitur. Finally the fable is rounded
out with scene 11 of act III. In this
the writing radiates a blessed happiness
that looks to the Same atnam symphony.
Two couples are engaged and the proceedings
are wreathed in smiles but not before
a faintly absurd little march. The chorus
sing in praise of the aspiring youthful
queen and 'New life, new soul, new blood
in Sweden.' All is well - a beautiful
tale comes to its well harvested rest.
As for the ‘Doomsday Prophets’: they
are the ones who predict the end of
the world; one of their chosen dates
is the day after the first act ends.
Such Armageddon is refuted by the delights
of act III.
There are full background notes and
synopsis by Stig Jakobson as well as
the sung text in Swedish and translation
to English.
All credit to Bo Hyttner - who is
Sterling - for this valuable entry to
the lists. Here, in addition to carrying
the responsibility and praise for this
production, he translated the texts
into English and in his usual capacity
as Executive Producer was no doubt involved
in extensive negotiations with Swedish
Radio and the host of other IPR holders.
Rob Barnett
Message received
from Sterling: All the music that
was available without interruptions
is on the CD. For the rest there was
a Swedish announcer explaining the action
over the music so this could not be
used.
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