Susanne resmark biography for kids
It is in this context that one must view a few autobiographical traits in Antichrist. Please upgrade your browser to improve your experience. This may also have been caused by Verdi's belief that the original tenor was not good enough.
When, however, Mistress Quickly enters the room immediately afterwards with the same warning, the women realize that their game has become bitter earnest. And indeed, Ford, accompanied by Dr Caius, Fenton, Bardolfo and Pistola, storms into his house in the hope of surprising his wife's supposed lover. While the men turn the house upside down in their search, the women manage to hide Falstaff in a huge wash-basket, which they had placed at the ready.
Hans och Greta, en sagoopera av Engelbert Humperdinck
Alice orders the basket and its contents, including Falstaff, to be tipped into the Thames. When he sees this, Ford realizes that he has been wrong to suspect his wife of being unfaithful. Act Three, Scene One Falstaff seeks comfort in mulled wine after his involuntary bathe and philosophizes about life and the ways of the world. Mistress Quickly comes in with another message from Alice: Falstaff is to come into the park at midnight, disguised as the Black Hunter.
Falstaff takes the bait yet again - much to the delight of Alice and her friends, who have watched the scene, concealed from view. The women plan to frighten Falstaff that night in the supposedly haunted park.
Ford also joins in the plot to take revenge on the knight and plans to announce the betrothal of his daughter Nannetta to Dr Caius that very night. Alice and Falstaff have just met as the bell tolls for the twelfth time, when Meg announces the arrival of a horde of ghosts.
While the women flee, Falstaff throws himself on the ground in sheer panic. The queen of the Fairies Nannetta and her entourage townspeople of Windsor discover Falstaff there, taunt him, urge him to repent his sins and beat him. He has actually visited Escorial in Madrid, though the visit took place 19 years ago, and was impressed by the king's enormous library. During the visit he said jokingly "One day I'll be the King of Spain". Little did he know that this would one day be true, even though he already knew of the role back then and had sung Philip's great monologue.
Anders himself has been married to the same woman for 25 years. Anders has three sons and emphasises that his relationship with them is very good, unlike Philip. The sons all play an instrument - guitar, bass and drums - so he has an entire accompanying band at home. For his wife's 50th birthday Anders acted as vocalist for the "boy band". Regarding the character of Philip, Anders says that a man with such power must struggle to see any limits at all.
But the Grand Inquisitor and the church place limits on his power, which is a source of immense frustration for him. He also realises that he cannot control his emotional state of mind, as emotions have to remain free of control. From the very start he realises that he cannot force Elisabeth to love him. No man can ever achieve that kind of power. As regards religion, Anders says that he is religious but not a member of any particular faith.
He believes that religion has caused a lot of misery, which is also shown by this opera. Anders further mentions the Israel-Palestine conflict as an example. She had originally been betrothed to Don Carlos, who was of the same age, inbut this was later changed to a betrothal to his father, Philip II, as a guarantee for the peace accord between France, Spain, England and the Savoy.
The next year, at the age of 15, she arrived in Madrid and became Queen Isabella. She was probably never in love with Don Carlos, but when he was put in prison she is said to have locked herself in a room and cried for a week.
She gave birth to two daughters during her marriage with Philip, but died delivering the third - the same year that Don Carlos passed away. Verdi allowed his librettist du Loche to write an entire first act that did not exist in Schiller's play.
That act takes place in France and lets us see how Elisabeth and Don Carlos fall in love when betrothed and how her husband-to-be is changed as part of the peace accords, from Don Carlos, the son, to Philip II, the father. The information in the act is historically accurate, except for the fact that the young betrothed were never in love.
However, rumours that they were in love were spread by the protestants in order to discredit the Spanish royal family, and Schiller may have based his work on this. And that's lucky, because their duets are accompanied by some of the most beautiful music Verdi ever composed.
She probably thought she would sing a Verdi role a lot sooner, as she performed a duet from Don Carlos during the final student performance at the University College of Opera in Stockholm. It likely poses a larger challenge now that she has sung a lot of Wagner, as Verdi stretches vocal abilities much further and demands more refined singing. Annalena hopes this will provide further inspiration for the other roles. Just like many other late Verdi roles, Elisabeth combines lyric and dramatic song in a way that can be difficult to handle.
Further Verdi roles are not part of Annalena's plans at present - however Lady Macbeth would probably be the next one. Regarding the role of Elisabeth, she says: This could easily take place right now, although not necessarily in a royal family.
For some people it is part of everyday life to feel restricted from making choices, or to feel as if they're in prison. For example, this could be true of people from other cultures, and you only have to go as far back as to the early 20th century to be in an era where your dad decided who you should marry.
I always find it fascinating to learn about the era for each role and then see where similar issues exist. I haven't had to go back far in time for any of my roles. Roles such as Isolde and Salome actually have the same feelings and are just as frustrated, but they can express themselves freely. Annalena has also looked at her own life and realised she often used to "bottle things up inside'', but that she no longer does so.
She moved in order to attend the Music College of Karlstad. She has also lived with an older man, although she did so of her own free will - she has been in a relationship with a jazz musician for 17 years. They have a very longed-for daughter, now 5, who they adopted from South Africa. However, the largest similarity between her life and that of Elisabeth is that Annalena also has a stepson, now But having been his bonus mum the expression currently favoured in Sweden since he was 5 it is unlikely that there will be further similarities with Elisabeth's destiny, she concludes with a big laugh.
But at the same time this musical style must have symbolized a seductive, sensual, superficial splendour which could be associated without difficulty with the Antichrist story. But this artistic and spiritual flourishing — the period of Jugend, Art Nouveau and Symbolism — also involved a smouldering decadence and latent signs of decay and dissolution.
The libretto and music of the opera express this duality. It is not only in the libretto that words and concepts are placed in quotation marks and must be understood in a figurative or symbolic sense. This is equally true of the music. Perhaps it is the case that any work of art leaves its creator with a twofold feeling: During the years when he was trying to get the opera performed at The Royal Danish Theatre, with no success, he made very different statements about the work — almost as if, for him too, there was something mysterious at work in what he had created. However that may be, one has to consider the problem of why Rued Langgaard — who had been brought up to think that music had a high religious mission as an art that could lead mankind beyond the noise and mummeries of this world — devoted so much energy to interpreting the ideas he had received, and yet thought he should emancipate himself from.
The fact that Antichrist has suffered the harshest fate of all great Danish musical works is related to this mystery. What was believed to be the masterwork of civilization — the free, active, strong individual — comes under rather heavy fire here, even though Rued Langgaard personally believed in the free personality.
Already at this stage one is warned against simply seeing the work as an opinion or a straightforward message. To express it in concepts taken from the history of visual art, Antichrist is situated at the difficult transition point where Art Nouveau is moving towards Expressionism. The spirit of form or inspiration that drove Rued Langgaard depends on the idea that images and moods can also be referents and determinants for the form of the music — although it should be emphasized that by mood he is not thinking of something vague or contourless, but something more exact.
This happens, again as in Symbolism, through the uncovering of deeper and deeper images in their interrelationship. Here we find one of the clearest examples of how opposed feelings held the artists of the age in their grip. Hindemith took his text from the painter Oskar Kokoschka, so the fact that Rued Langgaard wanted to make his own libretto for his work was not totally unusual either.
The composer Schoenberg also wrote texts and was even known to work as a painter.
We can get some impression of the music drama situation in Denmark in the years when Rued Langgaard was working on his opera by dwelling briefly on two events that took place in With its insistently erotic symbolism the work had been something of a sensation all over Europe. In Copen-hagen it was received with great tolerance and enthusiasm. The work is characterized by a mixture of spirituality, Eros and humour: And one asks again: Yet this was not due to any Christian influence; rather the opposite.
Nietzsche, the provocative philosopher so frequently read in many circles, had entitled one of his radical showdowns with Christianity and its morality The Antichrist.
But it is hardly from this context that Rued Langgaard took the word; he must have heard it used in a more directly religious sense in his childhood home.
And this is where the story becomes rather odd. His father thought that music was supposed to guide mankind upwards to the light of a higher Christianity and life-as-art — something that was apparently not to be found in this world. It was perhaps more harmonious when there was no Hell, as certain harmonious philosophers teach. That seems to be such a great and noble thought, but greatness and beauty without the dissonance of truth are neither beautiful nor good! His parents, especially his mother, had in other words promised their own son a very difficult life, and the promise was fulfilled.
But it is stranger still that we need not listen to so much of the music of Antichrist before our thoughts turn to this same Richard Strauss — not as evidence of epigonism, but as an expression of the shared spirit of the age.
As if that were not enough, besides Richard Strauss his mother had also warned him against Puccini — and Carl Nielsen! So part of the background of Antichrist is certain musical undercurrents and dualities that must undeniably have made it very difficult for Langgaard make any progress at all as a composer, as will become evident.
In the world of opinions it is true that Rued Langgaard, when asked, shared the view of his cultural contemporaries. By contrast, in the subculture, in special religious circles, or in certain works without wide currency, one could find the idea that Antichrist was now emerging in the world. But one gets the feeling that the prime importance of these texts for Langgaard was that they articulated things of which he already had his own clear musical and dramatic idea.
At any rate, in his work he had no intention of expounding sectarian opinions; he wanted to create a universal work of art. For him it was first and foremost about music.
But it was also about his own difficult position, the relationship between the spiritual ideas and the music he heard around him, about which, given the fantastic respon-siveness of his talent, he had strong feelings. It is in this context that one must view a few autobiographical traits in Antichrist. In the work, he uses musical material from some of his own works, but in a particular order. But in Scene 2 of Antichrist he uses a much stronger type of material — from the later Symphony no.
This is used in many places in Antichrist — just as he quotes his own work The Music of the Spheres. What has happened between these two so different forms of expression? The answer is simple: His mother wrote in this connection: Here it is quite clear that for the young Langgaard, who was in a situation where, while he was aware of the calibre of the two contemporaries Carl Nielsen and Richard Strauss, regardless of their differences from each other, he still had a feeling that their music was anti-Christian — so for Langgaard Antichrist, far from being a symbol created by an overwrought imagination, represented an extremely fascinating musical task, indeed an existential necessity.
With this work he could assume his proper role, show his version of the forces in play in his time, match up to the two composers and still demonstrate the possibilities of his own music in this historic context. He succeeded musically — but not with the public.
One of these is to be found in the word Ephphathawhich appears in the Gospel of Mark, Chapter 7 and elsewhere. Ephphatha is also the divine intervention that concludes the Antichrist opera, when the chorus sings:. Later this became the most-discussed theology in Europe, but it was proposed for the first time in Germany inthat is after Langgaard had written his opera. On the other hand the whole disposition of Antichrist suggests that the religious symbols are not to be seen as the expression of a cosmic timetable, but of human attitudes and outlooks.
In one of the many statements about Antichrist Rued Langgaard says of St. Against that background Rued Langgaard lets the inspiration from Revelation come to expression in the actual musical structure of his opera, by making the music unveil grand tableaux — a procedure that has spiritual affinities with the great sequences of images in Revelation.
On the other hand he does not follow the actual progress of Revelation. He has extracted particular scriptural texts, both from Revelation and from other passages in the Bible, and then lets the music form the final images.