“Asle og Alida,” a new opera by Norwegian Nobel laureate Jon Fosse and Danish composer Bent Sørensen, explores themes of faith, hope, and love in a world seemingly devoid of God’s presence. The opera, a co-production between the Royal Theatre in Copenhagen and Bergen National Opera, presents a modern music drama that is both beautiful and challenging, refusing to pander to its audience.

The story revolves around two young people, Asle, a fiddler, and Alida, his pregnant beloved, as they seek shelter in the town of Bjørgvin (Bergen). Reminiscent of Joseph and Mary, they are met with suspicion and cruelty, encountering characters who exploit their vulnerability. A man desires Alida’s body in exchange for help, an old woman mocks them, and a young woman attempts to seduce Asle, disregarding Alida’s plight.

Asle and Alida find themselves entangled in a web of desire and meanness. After the mysterious disappearance of the old woman, they take refuge in her house, but death continues to haunt them. Asle is arrested and lynched, leaving Alida alone with her newborn, Sigvald, vulnerable to the advances of a man with ulterior motives.

Fosse’s libretto in New Norwegian subverts the biblical story, while Sørensen’s intense and dreamlike music, interspersed with glimpses of traditional tonality and a recurring glissando, amplifies the drama. The opera, through its interplay of words and music, creates a powerful and unsettling experience. The Royal Opera Choir functions as a Greek chorus, constantly commenting on the action, while a violinist, a new addition to the story, acts as Asle’s musical twin, visually and aurally representing his presence.

The staging, with its simple wooden structure and Norwegian beach stones, reflects the godless universe of the opera. Louise McClelland Jacobsen shines as Alida, while Wictor Sundqvist portrays Asle as a desperate man seeking escape. Christina Jønsi delivers a compelling performance as the seductive young woman, and Johannes Weisser skillfully alternates between classical singing and demonic falsetto.

While the opera has been generally well-received, some critics question certain choices, such as the deliberately bad singing of the character Åsleik. Nevertheless, “Asle og Alida” is considered a significant work, with the potential to become a modern classic, inviting future interpretations and enduring relevance.