Allan Gravgaard Madsen
26
Cool operatrip
DR2: »Operarejsen«
© DR
I jagten på inspiration til en ny opera rejser den lidende kunstner Allan Gravgaard Madsen gennem Europas operahuse/repertoire. Med i camperen er Frederik Cilius og Rasmus Bruun, og de formår at tale opera – fra Gounod, Puccini x 2 til Wagner og venner – så også ikke-kendere hænger i. 2/3-dele af spilletiden bruges på de tre musketerers eventyr; det er hyggeligt, du, og Cilius bringer i hvert afsnit på en dynamisk måde de vigtigste temaer for aftenens opera i spil. Faust kaldes den ultimative midtlivskrise og Baron Scarpia fra Tosca en prototypisk #metoo-forbryder. Formidlingen fungerer bedst i deres diskussioner efter forestillingerne, især når Madsen forestiller sig, hvordan komponisten har grebet arbejdet an. Særligt Wagner-episoden gør indtryk: Det betagende Bayreuth (man får lyst til at aflægge et besøg ASAP) overfor Cilius, der ikke lægger fingre imellem i sin redegørelse for Wagner og antisemitismen.
Den meget bathos-tunge fortællestil må være det største kritikpunkt: Når diskussionen bliver dyb, fx når Madsen åbner for sin tvivl omkring sin komponistgerning, punkterer Cilius eller Bruun alvoren med en joke. Synd, for Madsen kan være utroligt sympatisk og indsigtsfuld, men også fordi det kunne fungere som en parallel til de dybe emner, som operamusik bearbejder.
Jeg håber dog inderligt på en sæson to, hvor blikket kunne vendes mod USA, Rusland og det 20./21. århundrede. Hele rejsen havde jo netop det formål at lade Madsen skrive en ny opera – vi får lov at høre ouverturen – og det ville være synd at slutte projektet, når det først er begyndt.
© Julie Montauk
»For me, music is a journey through time; one song can send you back to a childhood summer, a packed dance floor, a breakup – or a sense of hope you thought you had given up.«
Danish-Corsican Malu Pierini has created her own musical universe somewhere between Copenhagen, Corsica and 1960s Paris. Here, Nordic soul/pop and French chanson meet as she draws threads to her family’s roots in the Parisian cabaret scene, the raw beauty of the Mediterranean and stories that bridge the gap between past and present. Pierini has just released her debut album Libera Me – a cinematic and personal journey into family history and an examination of what we carry with us from those who came before us. The album unites French 60s sounds, bossa references, Corsican folk tunes and indie pop in a story of love, heritage and identity.
Small Snowflakes in a Brutal Snowstorm
Mads Emil Dreyer: »Miniatures«
© PR
As this review was being written, a snowstorm swept across Denmark, and even Østerbro was submerged in beautiful white snow. This turned out to be a remarkably fitting backdrop for the Danish composer Mads Emil Dreyer’s latest compositions, which are marked by melancholic, childlike phrases of glockenspiel and distant synths. The minimalist works are performed by the ensembles Scenatet, EKKI MINNA, and Athelas Sinfonietta, all of whom share a commitment to contemporary music, uncompromising experimentation, and a playful approach to acoustics and perspectives – qualities that are clearly audible in the works themselves.
Echoes of metallic sound surfaces blend with occasional floating pads, often tipping from the beautiful into the unsettling. The first half of the album is shaped by slightly brighter and more playful melodies, with »Miniature I–II« and »I–III« in particular delivering beautiful themes that frequently strike straight to the heart. A brief intermezzo opens the album’s second half, where abrasive keys and pads are introduced, and the ringing glockenspiels hover above the listener like eerie shadows or frightening ghosts.
The suites are short, simple, and effective, yet at the same time deeply atmospheric. In a short space of time, Miniatures has become a favored sonic space for this reviewer when there is a need to retreat into the chambers of the mind, where the blend of glockenspiel and principles of chance appears like small, glistening snowflakes in a long and brutal snowstorm.
Poetic Nocturnal Rummaging
Bent Sørensen: »12 Nocturnes & Piano Concerto No. 3, La sera estatica«
Bent Sørensen. © Peter Christian Christensen
Why is it that one can always recognize a lullaby? This musical archetype, circular and hushed, sung into us with mother’s milk. Composer Bent Sørensen’s solo piano cycle 12 Nocturnes is a tribute to the night’s musical cultural heritage. The nocturne – a nocturnal, lyrical composition – merges with, among other forms, lullabies and cantatas in a poetic narrative from sunset to sunrise about what is close at hand and yet unfathomable: that the sun rises, that children are born, that stars can be glimpsed through small windows on earth, that the piano can create worlds with twelve tones.
Bent Sørensen wrote the twelve short nocturnes between 2000 and 2014 for pianist (and wife) Katrine Gislinge. They have previously been released digitally. Now they appear as a studio recording paired with Piano Concerto No. 3, La sera estatica. The premiere of this “ecstatic evening” stands in contrast to the nocturnes’ simple, balanced forms. With a dramatic opening, multiple orchestral groups, and crackling storminess in the soundscapes, the dreamy nocturnal universe is ruptured by a surging ardor that unfolds in two parts, where purer melodic lines gradually take over the second – complete with a distinct (night?) bell.
Yet the piano concerto’s sovereign quality does not quite come into its own when presented as a postscript to the nocturnes’ rounded narrative. The two elements work best separately, so that the ecstatic evening for full orchestra does not puncture the magic of stars scattered blinking across the piano’s staccato attacks, or Sigrid’s nocturnal dances and lullabies. There is ample drama in the beautifully conveyed single night – for even the child Sigrid will one day no longer be sung to sleep.
© PR
»For me, music is a rush in the chest – a way of understanding and expressing emotions.«
Cecilie Penney (b. 1990, Denmark) will be presenting the exhibition Rest and Routine – Duet for Sanatorium and Modern Hospital at Nikolaj Kunsthal from February. She is a visual artist and electronic composer working across sound, installation, video, and text. Her practice explores how infrastructure and cultural norms shape human behaviour, and how emotions and empathy unfold within structural, linguistic, and technological systems.
In recent years, Penney has focused in particular on the Scandinavian healthcare system and on how patients navigate institutions that can be difficult to access and understand. Through a conceptual approach, she examines how patients are often expected to conform to rigid frameworks that fail to accommodate individual needs. By creating imagined or alternative worlds, Penney explores new possibilities for healing and transformation within bureaucratic systems, while inviting reflection on how systemic change might emerge from emotional insight and collective rethinking.
Penney holds an MFA from the Royal Danish Academy of Fine Arts in Copenhagen and a BFA in Fine Art Photography from HDK-Valand in Gothenburg.
© Mishael Oladipo Fapohunda
»As Bertolt Brecht once wrote: 'In dark times, will there also be singing? Yes · there will be singing, about the dark times'.«
SLIM0 is a Copenhagen based doom/grunge/punk trio consisting of Mija Milovic (guitar), Lena Milovic (guitar) and Simin Stine Ramezanali (drums). The vocals of all three members can be heard throughout, the voice being a central element to the band's practice. SLIM0 uses minimal, albeit feisty arrangements to convey a strong sense of ominousness. Through crashed cymbals, distorted guitars and voices in unison, they present a full body of work hailing from personal takes on classic punk/rock tropes with SLIM0 as the omniscient narrator. Their debut album FORGIVENESS was released in October 2024 via 15 love.