<p>Bilaga: 1 DVD Musiken ur föreställningen: 1. J.H. Roman: sats 1 och 2 ur Sinfonia i G-dur; 2. J.H. Roman: sats 1 ur Drottningholmsmusiken; 3. G.B. Pergolesi: ur Salve Regina; 4. J.H. Roman: ur kantaten Piante Amiche; 5. F.A. Uttini: Louise est l'astre qui nous éclaire (Lovisa, en stjärna på himlen); 6. J.M.: Kraus: Er starb ur Der Tod Jesu (Han är död); 7. J.H. Roman: Han skall låta regna; 8. C.P.E. Bach: sats 1 1 och 2 ur Symfoni för stråkar, C-dur; 9. G.B. Pergolesi: ur Stabat Mater; 10. J.M. Kraus: Ditt liv en kedja var ur Sorgemusik över Gustav III; 11. J.H. Roman: Assagio II g-moll, Con Spirito; 12. J.M. Kraus: Te Decet ur Requiem (Döden mig famnar) Medverkande: Christina Larsson Malmberg - sopran, Catalina Langborn - barockviolin, Johannes Jacobson - barockviolin, Andrea Ravandoni - barockviola, Magnus Malmros - barockcello, Rami Jawhari Jansson - dans.</p>

This thesis is a culmination of a two-year master program called Contemporary Performance and Composition (CoPeCo). For my final project I composed a chamber opera (“opera in miniature” as I like to call it) "Raport o stanie planety" ('Planet Report') for four solo voices and ensemble consisting of nine musicians. The main purposes of this thesis are to analyze the compositional techniques I used in that piece, problematize my artistic ideas, as well as put them in a context of other works.

Syftet med denna skriftliga del av mitt examensarbete är att försöka fånga några av de tankar som verkat i komponerandet av operan Sen packar jag aldrig mer. Många av de tankar som gett mig inspiration till arbetet har rört fenomenet nuet. Jag menar att det centrala i att vara i nuet, egentligen handlar om en upplevelse av fullständig närvaro. Närvaro kan alltså sägas vara ett modus av nuet. Upplevelsen av närvaro är för mig mycket stark och oförglömlig. Den hör samman med en ökad rumsuppfattning, en känsla av rummets expanderande, och att ”tiden står still” eller åtminstone att fortvaron ter sig långsammare. Att med musik som medel, genom komposition, komma närmare närvaron har därför blivit viktigt för mig. Detta arbete behandlar tankar kring detta  i relation till operan som genre och i relation till musik som fenomen. / <p>Sen packar jag aldrig mer (Kammaropera)</p><p>Musik: Zacharias Ehnvall Libretto: Elsa BerggrenDirigent: Kaapo IjasMamman: Amelia Jakobsson (Sopran) Dottern: Isabella Lundqvist (Sopran) Pappan: Rodrigo Sosa Dal Pozzo (Kontratenor) Klarinett: Som Howie Slagverk: Sabela Castro Rodriguez Piano: Leo Gavel Violin: Eleonora Oswald Viola: Doris Mägi Cello: Nuri Oh  Regi: Franciska Löfgren Scenografi: Anton Thorsson Kostymdesign: Anton Thorsson Maskör: Emelie Henriksson Ljusdesign: Sofia Linde och Hannele Philipson Teaterteknik och koordination: Alexander Svensson, Anja Löfgren, Anton Linder, Rikard Norén, Theres Hansson</p><p>Föreställningen finns dokumenterad på DVD</p><p></p>

<p> </p><p>The image of the poet Gustaf Fröding is the main theme of this essay. It opens with an analysis of the chamber opera <em>Flickan i ögat.</em> This opera has never been translated but a direct translation would be <em>The Girl in the Eye</em>. It refers to a story that when a man looks into the mirror and sees a picture of a girl in his eye, she will be his future love.  Fröding has written a poem "Flickan i ögat" where the person in the poem only observes himself. Based on this motif the libretto paints a period of Gustaf Fröding's life. Fröding proposes to Vivi, a waitress on a restaurant frequented by Fröding. His proposal has been turned downed. The drama then shows a picture of a miserable and unhappy poet in vain looking for love. But the cause is also the poet's narcissistic character and his morbid erotic fantasies.</p><p>This view is compared with the different images of Fröding that have been put forward during the years, from the beginning of 1900 until today. It has changed from the popular, the unhappy, the modernistic and lately the playful Fröding. The Fröding reception has been discussed based on Bourdieu's theory of cultural fields. In the discussed subfield the actors with highest hegemony are shown to be the theorists and critics of literature as well as psychiatrists.</p><p> </p><p> </p>

The image of the poet Gustaf Fröding is the main theme of this essay. It opens with an analysis of the chamber opera Flickan i ögat. This opera has never been translated but a direct translation would be The Girl in the Eye. It refers to a story that when a man looks into the mirror and sees a picture of a girl in his eye, she will be his future love.  Fröding has written a poem "Flickan i ögat" where the person in the poem only observes himself. Based on this motif the libretto paints a period of Gustaf Fröding's life. Fröding proposes to Vivi, a waitress on a restaurant frequented by Fröding. His proposal has been turned downed. The drama then shows a picture of a miserable and unhappy poet in vain looking for love. But the cause is also the poet's narcissistic character and his morbid erotic fantasies. This view is compared with the different images of Fröding that have been put forward during the years, from the beginning of 1900 until today. It has changed from the popular, the unhappy, the modernistic and lately the playful Fröding. The Fröding reception has been discussed based on Bourdieu's theory of cultural fields. In the discussed subfield the actors with highest hegemony are shown to be the theorists and critics of literature as well as psychiatrists.