“Ryno” – The Knight Errant
The harmonious blend of musicianship and craftmanship presented in ‘Ryno’- The Knight Errant, composed by Eduard Brendler and completed posthumously by Prince Oscar, is truly commendable. This 2-CD set beautifully captures the ebbs and flows of the libretto penned by Bernhard von Beskow, giving a voice to this somewhat intriguing entry into the canon of Romantic Swedish opera.
The Gothenburg Symphony Orchestra under the baton of Anders Wiklund manages to infuse life into each cadence, tastefully playing through Brendler’s tones with an understated elegance. The orchestral performance is further complimented by the soloist members of the Choir of Stora Teatern in Gothenburg. Their rendition, marked by shared harmonies, enunciated lyrics, and dynamism, transports listeners into von Beskow’s created world.
Interpreted in the true vein of Romantic fantasy, ‘Ryno’ echoes with heroic ballad-style overtures, punctuated by dialogue-driven recitatives. With its episodic plot and folk style infusion, it distinctively navigates between the traditional and the modern, a commendable feat in the otherwise heavily-structured Operatic repertoire.
The performance itself bears testament to the expressiveness of opera, magnifying emotions through music. Certain underlying themes evident in the compositions – of courtly love, chivalry, and tragedy – transgress the borders between sound and story, bringing the narrative to life in an evocatively musical manner.
Historically and culturally infused, ‘Ryno’ offers a glimpse into Swedish Romanticism, precariously balancing between the time’s European operatic trends and the national style. Brendler’s prematurely discontinued composition, completed by Prince Oscar, is all the more interesting for its episodic ebb, ensuring that the listening is a continually refreshing experience.
It is this very experience that Sterling’s ‘Swedish Romantic’ series aims to encapsulate – music that resonates as much with the historical period it represents as it does with contemporary sensibilities. In ‘Ryno’, this essence is successfully captured, testament to the conductor, choir, and performers’ adept understanding of their material.
Overall, the ‘Ryno’ – The Knight Errant exhibits compositional ingenuity attempted by Brendler and completed by Prince Oscar, brought to light through a narrative that transcends the operatic norm. It is a testament to the understated beauty of Swedish Romanticism and a significant addition to any opera enthusiast’s collection.
