This eccentric little opera is the first by the Finnish composer Sebastian Fagerlund (b.1972). Considered one of the most important of the younger generation of Finnish composers, he received his diploma from the Sibelius Academy just four years before beginning work on this piece, commissioned by the Finnish West Coast Kokkola Opera. The title character is General Georg Carl von Döbeln, a real-life hero of the 1908–09 war in which Sweden lost Finland to Russia. In a framing story based on real events in 1789, Döbeln receives a head wound in a battle, and is given opium as an anesthetic in preparation for surgery. Drug-induced delirium results in a series of seven surrealistic dreams set 20 years in his future. Symbolic and in some ways absurdist, with an inept Swedish king, confrontational alter egos, talking fish, and an aging brothel-keeper who fries blintzes for the troops, the opera was written to mark the bicentennial of Finnish independence. It does so most unconventionally, eschewing both heroics and celebration to instead examine the irrationalities of war—this and all wars—through the subconscious of the Swedish general. Finnish poet Jusa Peltoniemi provides a libretto—in Swedish and Finnish according to what each character would have spoken—in which little is actually said, much is communicated, and in which everything carries great weight. It is both serious and humorous, often at the same time. It plays with reality and delusion, time and destiny. It is a tour de force.
The music itself is no less amazing. Fagerlund has scored the work for an orchestra of 15, including two percussionists and piano. He uses those relatively modest resources brilliantly. Stylistically, his music has been likened to that of the previous generation of Finnish composers, particularly Magnus Lindberg. So it is, at least in its sonorities, especially the more massive ones like the impressive battle music that opens the work. In its many sections of haunting ethereality it seems closer to the work of another Finnish composer, Kaija Saariaho. The musical characterization of each scene and individual is clever and telling, tracing Döbeln’s emotional disintegration from dream to dream and his eventual reconciliation with his fears. Perhaps what impresses most is how the stillness can be so intense. One must, of course, credit Sakari Oramo and his virtuoso ensemble for their part of that, as well.
Not to neglect the singers. The vocal style is eclectic, with small critical segments of dramatic speech, sections of soaring lyricism, and moments of crisis that are near sprechstimme . There are 11 challenging roles spread among the five soloists, each differentiated in part by the vocal writing, and most tellingly by the singers. All are Kokkola Opera Summer regulars and most are native singers who studied at the Sibelius Academy. The one exception is American bass Robert McLoud, whose sonorous bass adds firmness to his portrayal of the Field Surgeon. Soprano Anu Komsi carries a large part of the drama as the alter-ego Dream Figure with her attractively bright, agile voice and great intensity. Annika Mylläri, who doubles as the company’s managing director, has a darker, creamier voice and fine comic timing, which she uses to good effect as the lady of the shipwreck. Tenor Lasse Penttinen has a light but pleasingly warm voice and the ability to create characters vocally. Baritone Sören Lillkung, who judging from the cover photo must be fun to watch on stage, is a singer better known in Scandinavia for his musical theater performances. He possesses a large, handsome voice and a fine sense of the absurd, particularly useful when Döbeln is transformed into a fish.
Add exemplary engineering that complements the excellence of the performances, and one has an easy recommendation to anyone who enjoys audience-friendly modern opera. Döbeln has me searching for recordings of other works by this composer, and looking forward to the next opera. May it come soon. Ronald E. Grames