“The music had been enough”
“Claes Wahlin sees the Creation at Folkoperan”
“This is a kulturartikel which is a part of Aftonbladet’s opinionsjournalistik.”
“Joseph Haydn was deeply inspired by Handel’s oratorios when he composed the Creation in the late 1700s. The work is written for large orchestra, chorus and three soloists. The text follows the genesis, the six days when all things came to be, but is also filtered through John Milton’s paradise lost, which then, more than today, was a living classic.”
“At Folkoperan has Mellika Melouani Melani taken on the work, but mostly to mess with it. For, of course, has not the christian god created the world for just anyone. The bible and its interpreter has, of course, well into our days limited earthly life and paradise into heterosexual living in two.”
“nSå after some educational explanations from the big screen about the work, how wonderful it is, we see a giant, black-draped cube at the front hoisted up. Draping disappears and, like a jätteiskub hangs the ago. Dressed in black archangels rage around in the chaos. Recitativen is here talked, usually with enthusiasm, or rage. The usual normkritiken gives room for quips who do not go to someone in the audience passing by.”
“It is love that will be praised, but not the biblically normative, but love is hindered by borders, laws or bigotry. Those who live in tresamhet and can’t get a joint Ica-card, they are hampered by the refusal of the residence permit. And as icing on the cake ends the evening with a very authentic wedding. Yes, just the border between private and public has, of course, social media has torn up.”
“nMen wait now. If religion was the body that ruled the laws, regulations, morality and conventions, what is it today that gets to decide? Is it not love? Laws, morals and conventions to follow love irrvägar. Good so, but how is it, then, with radical performing arts? At Folkoperan is not an ounce of questioning or criticism of today’s kärleksdyrkan. Performing arts unwillingness to challenge the real risk in the long term, become its grave.”
“God, Allah or who you want to be price, so here in all cases the music, well, basically, a particle divided by the speaking parties and so. But Mikaela, the choir sounds magnificent, a comprehensive and strong sound, which does Haydn justice, even the really small orchestra, under Anders Eby is excellent. Samuel Fröler, Annika Hallin, Ann-Sofie and the Fury live well into their ärkeänglaroller, albeit in a somewhat idiosyncratic choreography. And Martin Halto has a mighty bass-baritone, Susanna Stern, a dense soprano and Jesper Blessed a good-looking tenor. The music had well been enough.”
“Director: Mellika Melouani Melani”
“production Design: Joonas Tikkanen”
“In roles: Martin Hatlo, Susanna Stern, Jesper Blessed, Samuel Fröler, Annika Hallin, Ann-Sofie the Fury”
“running time: 1 hr 35 min”
