The National Theatre and The Norwegian National Opera & Ballet present:
Peer Gynt
Photo: Nationaltheatret
Ibsen’s text and Grieg’s music are finally brought together again!
A star-studded team of actors, singers and musicians guarantees a powerful experience in a fully staged production of Peer Gynt. Johannes Holmen Dahl is in charge of direction.
Most people are familiar with Peer Gynt, the braggart who drinks, lies and charms women, but runs away when the going gets tough, the adventurer who fights his inner demons and outer tribulations and enjoys success abroad – but ultimately returns to his beloved Solveig.
A meeting of masters between Grieg and Ibsen
Just like during the original premiere in 1876, we are presenting Ibsen’s amazing verse play to the accompaniment of Edvard Grieg’s magnificent original music. This is rarely done nowadays.
In this new production of Peer Gynt, director Johannes Holmen Dahl explores what the tension between Ibsen’s political satire and Edvard Grieg’s national romantic music has to say to us today.
A dream team of artists
Johannes Holmen Dahl is one of the country’s leading stage directors who, together with set designer and costume designer Nia Damerell, has produced several critically acclaimed performances, including Hamlet (2021) and Tid for glede (2022).
Herbert Nordrum, best known for Oscar-nominated Verdens verste menneske (The Worst Person in the World) and the National Theatre’s critically acclaimed Hamlet, is performing the role of Peer, while Norwegian National Opera performer Frøy Hovland Holtbakk is Solveig.
Together with a strong ensemble of performers, the Opera Orchestra, the Opera Chorus, the Opera Children’s Chorus and Ragnhild Hemsing on the Hardanger fiddle, it promises to be a unique experience in which the essence of Ibsen’s text is given centre stage and the music the opportunity to shine.
Synopsis
Most people know Peer Gynt. The man who drinks and lies, charms women, but runs away when things get tough. The one who battles inner demons and external challenges, makes a name for himself abroad – but ultimately returns to his waiting Solveig.
The story begins in a rural Norwegian setting in the 19th century. We meet Peer, who grows up with his mother, Åse, his father no longer around. Peer is a restless storyteller who is known to bend the truth. He crashes a wedding and abducts the bride, Ingrid, only to abandon her after one night. He meets and falls in love with Solveig, who is new to the village and different from the others.
Peer is lured away by some dairymaids to a wild party. Then, he flirts with The Green-Clad Woman, who turns out to be the troll daughter of none other than Dovregubben (the Mountain King). Peer narrowly escapes. He encounters a creature called the Bøyg, who will hunt him for the rest of the play. Peer can't figure out the Bøyg and is forced to "go around."
He seeks refuge with Solveig, who patiently waits for him. But again he leaves her. Mother Åse is dying, and Peer stays with her, weaving stories and tales of the afterlife to distract from the seriousness until she passes away. He meets The Green-Clad Woman again and their child, whom he refuses to take responsibility for. Peer takes a different path, embarking on a journey that lasts many years.
His travels take him around the world, trying out various occupations and roles. Peer travels to Morocco and Cairo, meets a Bedouin chief, and tries to seduce his daughter Anitra. He also encounters Begriffenfeldt, the head of the insane asylum called the Madhouse, where Peer is crowned emperor.
Eventually, Peer returns home to Norway as an old man. A storm arises, his boat capsizes, and Peer saves himself, but at the cost of the cook on the lifeboat. Back home, he witnesses a funeral and an auction where all his old belongings are sold. No one recognizes him, but there are rumours about Peer Gynt, who went abroad. He is haunted by voices and visions that torment him. The Button Moulder appears and claims that Peer's soul must be melted down because his life has been wasted, as he never discovered what it means to be "himself."
The play ends with Peer collapsing in Solveig's lap while she comforts and sings to him.