“Fram” at Den Norske Opera og Ballett, Oslo – Reviews and recommendations

Imagine that the film industry announces that from now on all actors must be under 50 years of age. Weird thought? Welcome to the world of opera. The retirement age for opera singers in Norway is 52. Now, there are certainly good reasons why most opera singers throw in the towel around mid-life. A comparison with top athletes is probably more apt than with colleagues from film and theatre. And there are exceptions. Baritone Terje Stensvold’s international career took off after he retired from Den Norske Opera og Ballett. He sang his farewell performance at his old workplace aged 71. Nevertheless, it is hardly surprising that well-grown characters are the exception rather than the rule in opera. Oda Radoor’s and Synne Skouen’s opera “Fram” is a portrait of a woman at the end of her life. I hope I’m wrong, but as far as I know this is a theme that has hardly been explored before on an operatic stage. This is Synne Skouen Photo: Euishin Kim / DNK Synne Skoen (b. 1950 in Oslo) is a Norwegian composer, former music critic in Arbeiderbladet and commentator in Aftenposten. She has also been cultural editor at news, and chairman of the Norwegian Composers’ Association. Major works: The ballet “Volven” (1989) at Den Norske Opera, as well as the operas “Ballerina” (2017) based on her father Arne Skouen’s play of the same title, and now “Fram” (2023), both at Den Norske Opera & Ballett. Source: news/SNL. Inner conflict Amelie no longer masters existence, and lives partly in her own world. Physical ailments make her self-absorbed and selfish. She has irrational outbursts of anger against her son Andreas, who is expecting his first child. In this difficult condition, Amelie experiences one last adventure, aboard the polar ship “Fram”. This polar journey, which naturally takes place entirely in Amelie’s head, becomes a final test of strength. ANGRY: The communications wife constantly breaks down between Amelie (Hege Høisæter) and her son Andreas (Eirik Grøtvedt). Photo: Erik Berg / DNOB On the ship, Amelie meets Fritjof Nansen himself and his crew. But Nansen himself proves to be old and frail. He fumbles with his rifle when a polar bear threatens. When the two lie with each other, it is Amelie who is on top. The subject of old age and dementia is of course not unknown in recent literature, and has been explored in the theater by, among others, Frode Grytten. Nevertheless, lyricist Oda Radoor’s treatment of the theme is felt to be new and original. “Fram” is a portrait of an elderly woman facing death as an existential project. Dying is not just about the body weathering and decaying. Death is also about the individual’s need to put an end to it in a meaningful way. TEST OF STRENGTH: The journey makes it possible for Amelie to take stock of her own life. Photo: Erik Berg / DNOB FRAGILE: Fritjof Nansen (Frode Olsen) does not quite live up to his mythical hero status. Photo: Erik Berg / DNOB LYDHØRT: The interaction between Amelie (Hege Høisæter) and Nansen (Frode Olsen) is one of the strengths of the opera “Fram”. Photo: Erik Berg / DNOB Innovative chamber opera There is certainly a lot to say about “Fram”. The scenography is simple but effective. The musical performances are solid across the board. Hilde Andersen’s direction brings out at its best a responsive interaction between the main characters. That a new repertoire is being created for stage artists of the format of Frode Olsen and Hege Høisæter – both opera singers over retirement age – is an enrichment both for Norwegian and international music life. CHAMBER MUSIC: Accordionist Ida Løvli Hidle is one of the seven musicians who make up the orchestra in “Fram”. In the background: Percussionist Anders Kregnes Hansen. Photo: Erik Berg / DNOB The fact that “Fram” has been created in a smaller format for the National Opera’s Scene 2 also opens up other innovative approaches. Synne Skouen writes for an ensemble of seven musicians (string quintet, accordion and percussion) who are placed on stage, and who plays without a conductor. This gives a completely different chamber music flexibility in the interaction between the musicians and the four soloists on stage. Expressive music The big problem with “Fram”, however, is that the opera is too little successful in bringing the theme to life musically. Some aspects do indeed work well, for example that the vocal lines in the dialogues between mother and son early in the opera constantly break into speech, as a metaphor for the breakdown in communication. All in all, there is still something austere and lacking in expression about Synne Skouen’s music, which never quite manages to take the place it should have in the whole. This is not primarily about the number of notes or musicians, or about the absence of dazzling singing performances. It is primarily about the fact that the music too rarely grabs hold of me and draws me into the space that is ultimately the music’s own, created on its own unique premises. Now it is obvious that Skouen’s ambition has precisely been to compose music that primarily has an accompanying and mood-giving role, that it should, so to speak, color the drawing that is already made up by the text and the scenic dimension. But the result appears, with a few exceptions, a bit like a baroque opera without arias. Beyond the opera, the lack of musical nerve, richness, contrast and momentum becomes palpable. That “Fram” thus appears as a not entirely successful opera is a shame. If there is something the opera genre needs today, it is precisely works that succeed in challenging the genre’s traditional framework and norms. news reviewer: Title: “Fram” By: Synne Skouen and Oda Radoor Artistic team: Music: Synne Skouen Libretto: Oda Radoor, with some text excerpts from Nansen’s “Fram over Polhavet” Director: Hilde Andersen Choreographer and assistant director: Eli Stålhand Scenography: Bård Lie Thorbjørnsen Costumes: Alva Brosten Lighting design: Torkel Skjærven Sonography: Synne Skouen and Mats Claesson Sound design: Mats Claesson Dramaturg: Jonas Forssell Head of musical rehearsal: Magnus Loddgard In the roles: Ameli: Hege Høisæter Nansen: Frode Olsen Andreas / a bear: Eirik Grøtvedt Tone / a bird / a seal / a bear: Silje Marie Aker Johnsen Chorus: Gustav Navas Hasfjord Chorus: Mikkel Skorpen Chorus: Paul Kirby Chorus: Jan-Magnar Andersen Gard Chorus: Steven Curtis Griffin Chorus: Magnus Dorholt Kjeldal Chorus/Blessing: Jørgen Magnus Haslum Chorus/Pettersen: Johann Dornwald Chorus/Sverdrup: Øystein Skre Bjørnunge: Olaf Hjellum



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