This season Martin Fröst will give perfomances on some of the world’s most prestigious concert stages including Carnegie Hall, Sydney Opera House, Berlin Philharmonie, The Gewandhaus Leipzig,Vienna Konzerthaus, Amsterdam Concertgebouw and Theatre de Champs Elysee in Paris amongst others. But in the beginning of October, Fröst is at home to launch a new three concert project at theStockholm Concert Hall called Dollhouse. In these performances with the Royal Stockholm Philharmonic, Fröst will appear as soloist, conductor, dancer, actor and conférencier. He will also be joined by two young up and coming clarinet stars Ingrid Meidell Noodt and Magnus Holmander for a whirling performance with new and traditional repertoire, choreographed by Ambra Succi (Bounce) and Birgitta Egerbladh. The performance will mark Fröst’s first collaboration with lighting designer and scenograpaher Linus Fellbom. Fellbom is a highly successful designer in the world of international opera and dance, and has worked on productions at the Wiener Staadsoper, Stuttgart Ballet, Hamburgische Staadsoper and the Los Angeles Opera.
Whilst wanting to push the boundraries, 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.”
The programme also includes Paul Dukas’ The Sorcerer´s Apprentice which became a world hit when Walt Disney used it in his film Fantasia in 1940. It is very much about liberation, but here the liberation has its price; in the film Mickey Mouse features as the apprentice who looses control over his own magic when his master leaves him alone at the castle. Luckily this does not happen to the two clarinet pupils who participate in the concert and during the preparation of this project haven taken part as apprentices alongside Martin Fröst. Their roles in the performance are very apparent, especially since the composer, Anders Hillborg, has added two clarinets to the prelude of Peacock Tales, the clarinet concerto written and dedicated to Martin Fröst. The two clarinettists will also take part in Sørensen’s Doll Steps in Venice , which like Göran Fröst´s Dtangled, has been composed especially for Dollhouse and will have it’s first Swedish premiere during these performances.
Göran Fröst – Klezmer Dances
Göran Fröst – D-tangled
Manuel de Falla – Nana
Bent Sørensen – Doll steps in Venice
Paul Dukas – The Sorcerer’s Apprentice
Igor Stravinsky – Pulcinella Suite
Anders Hillborg – Peacock Tales
Welcome to Dollhouse!
Photo: Mats Bäcker