Allan Gravgaard Madsen
27
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.
© PR
»For us, music is... magic? Aside from the fact that we are huge fans of silence, the closing line of one of our upcoming singles perfectly captures our relationship with music:
'Music feels like magic to me / A superior art form in a marketplace / Trying to find an empty space'.
That is what it can feel like as a songwriter and performing musician. We try to hold onto an almost childlike infatuation with music, yet the art form we work in – alternative-leaning pop-rock – was created and has evolved 'in a marketplace' driven by powerful economic forces. As a romantic, that can sometimes be a bit disheartening...«
Late Runner consists of Asger Tarpgaard and Tanja Forsberg Simonsen, both formerly of the bands Superheroes and Private.
© Sam Aebi
»I think music is just the way I perceive and process the world.«
Raphael Loher is a pianist and composer based in Lucerne, Switzerland who combines elements of experimental electronic music, ambient, and minimalist composition. His distinct, crystalline work explores playful reduction and rhythmic abstraction, aiming to create singular resonances and aesthetic connections. His meditative style of piano playing allows shimmering rhizomatic structures to emerge, giving rise to tense narrative arcs. Loher expands his sound spectrum by preparing the piano, using effect pedals, and working with a tape recorder.
Loher’s new album Figuren (Präsens Editionen) is an album shaped by intuition, experimentation, and a deliberate distance from his primary instrument — the piano. Reworking intimate concert recordings made during a residency, Loher deconstructed selected melodies, tones, and resonances into new forms, transforming them further through tape manipulation.
© PR
It was officially confirmed only recently that Icelandic avant-garde star Björk is visiting Bielsko-Biała today. After keeping it under wraps until the last moment, the organizers of the Wędrujący Festiwal (Wandering Festival) have revealed that Björk is the artist closing out the festival's grand finale.
© Kåre Viemose
»Recently, I discovered that when a couple of thousand people clap their thick gloves in minus 30 degrees, it sounds like the softest techno – a freezing space where the cold air turns into a wave of warmth, and we, in a moment of collective devotion, become one with the rhythm, one with the invisible bond that connects us in the warmth of silence. Music is not just sounds, but a vain attempt to capture the infinite, which has always been and always will be.«
Andreo Michaelo Mielczarek has been the editor-in-chief of Seismograf since 2021. He is also a music critic and cultural journalist at Kristeligt Dagblad and Århus Stiftstidende/Avisen Danmark and has over the years written to publications such as Kunsten.nu, Glissando (Poland), Neural (Italy), Raw Vision (UK), Nutida Musik (Sweden), Kunstkritikk (DK/Sweden), Iscene.dk, B.T., and Jazz Special. He is the author (together with Lars Muhl) of the book HVA' SAA! En guidet rutsjebanetur gennem Aarhus – før, nu og i fremtiden (2024) and has also contributed to the anthology on music criticism Man skal høre meget (ed. Thomas Michelsen and Claus Røllum-Larsen, 2024). He is a founder and partner in the Polish-Danish cultural organization Kultur(a), and wherever there is a piano, he will be there, eager to coax a melody from it.
© Aria Leth Schütze
»For me, music is an opportunity for transformation.«
Aria Leth Schütze is based in Copenhagen and is the creative force behind the music projects Alto Aria and Samler På Dig. They are a co-founder of the record label Rhizome and a co-editor of the music magazine Passive/Aggressive. Their practice brings together electronic and acoustic music in an exploration of transformation.