Rued Langgaard's Antikrist is fabulous--a genuine, undiscovered, eccentric masterpiece. Of course, it helps that the composer was basically out of his mind, poor guy, and in order to understand why the opera is so much fun you need to know a little background. Langgaard's parents were deeply religious, and both were musicians and (it would seem) aesthetic snobs. They basically hated all modern music on both artistic and moral grounds, a juicy combination for a budding musician. This meant that Strauss, Puccini, and even Carl Nielsen were all dubbed evil, materialistic sensualists. Naturally, from a purely technical point of view, Langgaard was hugely attracted to this new music, just as he wasRead more morally repelled by it. He found a way to incorporate its style into his own, but only to the extent that he could make a point of its decadence--though he has such a good time luxuriating in its theoretical naughtiness (like a kid browsing through his first porn magazine) that it's a bit hard to take the moral angle all that seriously.
All of this comes to a head in Antikrist, composed during the lengthy period 1921-30, when the composer was only in his late 20s. The essence of the story is simple: Lucifer summons the Antichrist, with God's permission, to visit earth for a few days. His attributes manifest themselves in a series of scenes, each of which is dominated by a personification of the quality in question: there's The Mouth Speaking Great Things (sounding like a personal empowerment seminar), Despondency, The Lie, Hatred, The Great Whore, and The Scarlet Beast. They strut their stuff for a few minutes, cause total chaos on earth, and then God sends them all back into the pit and an angelic choir describes the need for spiritual transformation. End of story. The libretto, by the composer himself (naturally), is highly symbolic, meaning that it's full of incomprehensible gibberish that, like one of Gertrude Stein's texts, makes just enough sense that you know who the various characters are and also that something important is happening.
The music, though, is stunning. Composed in a magnificently sustained outpouring of glittering orchestration about an hour and a half in length, Langgaard has a field-day running the gamut from Wagner and Strauss to the more modern styles of the 1920s (such as Hindemith, whose music he did not know), to liturgical music (complete with organ). It's all seamlessly bound together by a few recurring motives, and the vocal lines surprisingly sound extremely beautiful and not at all ungraceful to sing. Although he wanted the work staged (it never was during his lifetime), it would make a stunning concert piece as well, something akin to Franz Schmidt's The Book of the Seven Seals, which it resembles in some respects--though it's a lot more fun to listen to. There really isn't a dull moment.
Happily, this performance is as spectacular as the work itself. The women are all magnificent, particularly the two sopranos, Anne Margrethe Dahl (Spirit of Mystery) and Camilla Nylund (The Great Whore). Among the men, Poul Elming's dashing top-hat-and-caned Mouth Speaking Great Things presents a characterful portrait of egotistical materialism, and Jon Ketilsson's heroic tenor ideally suits The Scarlet Beast. But then, there isn't a weak link anywhere. The production, beautifully lit and costumed, presents the work as a sort of morality play taking place within the plain interior of a Protestant/Quaker meeting-house, with the various worshipers taking the main roles through colorful changes of costume. Some of the on-stage camera work is a bit disorienting, but otherwise the production vividly brings to life a work that otherwise runs the risk of appearing static in terms of dramatic movement.
As you might have guessed, most of the action takes place in the orchestra. There are long interludes between scenes, huge climaxes, and an especially gorgeous final chorus, and Thomas Dausgaard leads an absolutely magnificent performance in all respects. It's also beautifully recorded in unobtrusively natural surround-sound (or stereo), with subtitles in English, French, German, Spanish, and Danish--and Dacapo's booklet notes are outstandingly informative. If you keep an open mind and just wallow in the glorious music, you're going to love this piece, and I can't imagine a better case being made for it than what you see and hear on this excellent DVD. It's a knockout! [9/26/2005]
--David Hurwitz, ClassicsToday.com Read less
Works on This Recording
Antikrist/Fortabelsenby Rued Langgaard Performer:
Morten Suurballe (Narrator),
Susanne Resmark (Mezzo Soprano),
Jon Ketilsson (Tenor),
Helene Gjerris (Mezzo Soprano),
Johnny Van Hal (Tenor),
Anne Margrethe Dahl (Soprano),
Sten Byriel (Bass Baritone),
Poul Elming (Tenor),
John Lundgren (Baritone)
Danish National Orchestra,
Danish National Opera Choir
Period: 20th Century Written: 1923/1929; Denmark
Average Customer Review: ( 1 Customer Review )
Great music, weird storyJanuary 14, 2013By Weston Williams (Birmingham, AL)See All My Reviews"Let me first say that Antikrist has fascinating music and is definitely worth a buy for anyone with any interest in it. The sound quality is excellent for a live performance, and is a fascinating listening experience, a glimpse into Danish classical music that is quite frankly hard to find outside of Denmark. That said, the story is every bit as weird as one would expect; highly religious and disconnected, it feels more like an oratorio in presentation, highly declamatory with little dialogue. There are, perhaps more opportunities for operatic dramatism than exist in this particular production. The production stems from the Japanese Noh tradition, and as such, there is very little to hold onto for cohesion in a plot that desperately needs some. Ironically, the set Langgaaard suggested for the opera (never performed in his lifetime) would have made a great deal more sense than this production did. However, all this is forgivable; the opera is almost entirely unknown, and funding a complex production for an opera as obscure as this would be hard to find, and the production is not entirely without its merits, few they may be. The sound quality is excellent and the music is astoundingly good, if a little over-serious. The libretto is confusing, full of imagery and religious symbology that may make sense only in Denmark (or Langgaard's head). The set includes an interesting little documentary about the opera and a handy paper interpretive guide describing Langgaard's constant struggle to get the opera performed (the problem was that opera companies kept rejecting the highly complex and confusing libretto without ever examining the music, which is fantastic). The music is a mishmash of styles, but it is a fascinating mishmash. I recommend just listening to the music with the picture off if you can after familiarizing yourself with after viewing it with subtitles libretto, because the audio is worth the money for just by itself. While I would hope for a better production in the future (which would be a daunting challenge given textual difficulties), this recording is excellent in terms of audio, in both quality of composition fidelity of sound, and I would certainly recommend it."Report Abuse
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