Whilst wanting to push the boundaries, Martin Fröst continuously creates new artistic expressions within the traditional framework of classical music. In Dollhouse, he alters our perspectives forcing us to think about who is leading and who is being led; here communication takes place on several levels and habitual patterns are sometimes turned on their heads when we realize that an orchestra can be led in different ways from those we are accustomed to.
Martin Fröst on Dollhouse:
”Perhaps there is a tendency today, as a result of our more driven development, to distil the ”human voice”away from music. It becomes standardized, streamlined or just agreeable. We always have to let pleasant music making become music making for life and death, to go and stand in a place where things can either go fantastically or result in a complete fiasco.
Dollhouse is very much about liberation, both in its physical and symbolical form, about the invisible threads that hold us to the earth, tie us together and can wear away. It is a concert with movement as its centre, a metaphor in the footsteps of Petrushka and Pinocchio.”