Composer: Gunner Møller PEDERSEN (b. 1943)
Works: Die Rättin – Rottesken (1997)
Performers: Helle Hinz (mezzo), Ulrik Cold (baritone), Sankt Nikolai Kirkes Kammerkor, Jan Juhler Ensemble, Domino – Lolland, Peter Ettrup Larsen
Recording: DANACORD DACOCD 591
Release Date: March 2001
Duration: 71:54
Label: DANACORD
In the realm of contemporary opera, Gunner Møller Pedersen’s Die Rättin emerges as a compelling tapestry that intertwines the surreal narrative of Günter Grass’s novel with an eclectic musical idiom. This recording, featuring the sublime voices of Helle Hinz and Ulrik Cold, alongside the finely tuned Sankt Nikolai Kirkes Kammerkor and Jan Juhler Ensemble, offers an exploration of an audaciously complex score that challenges both performer and listener.
The work is structured as a chamber opera and song cycle, comprising fifteen distinct tracks that oscillate between the whimsical and the grotesque. Pedersen’s musical fabric deftly evokes influences from Mahler, Mozart, Brahms, Stravinsky, and Weill, creating a vibrant dialogue with the past while firmly rooting itself in the present. The opening movement, Goplernes sang, showcases an extraordinary moment where the choir of Baltic jellyfish sings a valedictory hymn—a surreal juxtaposition that encapsulates the work’s overarching themes of loss and existential reflection.
One of the most striking aspects of this recording is the immediacy of the sound engineering, which captures the performance with a transparency akin to a live radio broadcast. The close balance allows the listener to appreciate the nuanced interplay between the ensemble and vocalists, with Ulrik Cold’s baritone resonating with a mature timbre that enriches the narrative’s emotional landscape. His ability to shift from lyrical expressiveness in Jeg drømte to the more turbulent Ultemosch—where earth-riven sound effects and anguished screams abound—demonstrates a commendable range that is both effective and affecting.
The instrumental ensemble, comprising a unique combination of flute, clarinet, saxophone, oboe, trombone, and harpsichord, is meticulously orchestrated. The winds often assume a Stravinskian coldness, particularly in the opening cries of Kvindere, reminiscent of the war cries in Tippett’s King Priam. This connection suggests not only a shared thematic exploration of conflict but also an acute understanding of how to utilize instrumental color to enhance vocal lines. The Ordbogen movement, with its blues-inflected rhythm, stands out as a delightful conceit, its jazzy sophistication counterpointing the weighty themes that dominate much of the work.
While the libretto is presented in its original Danish and German, the absence of English translations may limit the opera’s accessibility to wider audiences. However, within the domestic context of Denmark and Germany, this may have been a strategic choice to preserve linguistic integrity and cultural specificity. The historical significance of this recording cannot be overstated, as it represents a retrospective of the Lys over Lolland Festival, where the world premiere was attended by Grass himself. The performance context in a rustic barn setting further enhances the atmospheric quality of this recording, which remains an enduring souvenir of those memorable festival performances.
In terms of interpretation, the decision to employ a close vocal style—eschewing the more virtuosic demands often placed on operatic voices—results in a more intimate and poignant delivery. Cold’s voice seldom reaches for the extremes that might frighten the livestock, creating a poignant resonance that aligns closely with Pedersen’s cynical gaze upon cosmology and destiny.
In conclusion, Die Rättin is a significant addition to the contemporary operatic repertoire, providing a rich canvas for both performers and audiences. Pedersen’s eclectic score, intertwined with Grass’s high-fantasy narrative, allows for a profound exploration of themes surrounding loss and the existential human condition. This recording, while perhaps limited in its broader appeal due to language constraints, stands as a testament to the innovative spirit of modern opera and its ability to reflect the complexities of contemporary existence. The careful engineering and interpretation bring forth a compelling auditory experience, one deserving of attention and contemplation within the ever-evolving landscape of classical music.
