Systrarna boheme

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The massive novel spans over pages and consists of seven chapters, each covering a shorter and shorter amount of time– a year, six months, three months, a month, a week, a day, a minute– moving forward in time, all the way into the future, mirroring the way that we experience time as passing faster as we grow older. In addition, we travel with his characters, not only through time, but also geographically, from Stockholm, to Paris, to North Africa, and to New York City. Facts and historical details add flavor, as well as ambiguity, to the narrative and convey the unreliable nature, not just of the narration in the novel, but of our memories, and makes us question the nature of time and temporality as we know it.

For example, a young Jonas and one of the sisters, Evelyn, are at the Stockholm Water Festival in , very close to the crash of the JAS plane, which actually happened, but when Evelyn remembers the incident, she has no memory of Jonas being there with her. Similarly, one of the sisters is convinced that they are related to one of the men in the famous photo ‘Lunch atop a Skyscraper’, from the construction of the Rockefeller Center, but the novel doesn’t reveal whether

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Elsa Dreisig

The renowned vocal competition Operalia awarded Elsa Dreisig First Prize as best female singer of The same year she was named Vocal Discovery of the prestigious Victoires dem la Musique Classique and the highly esteemed magazine Opernwelt granted her the sought-after mention as ung Artist of the Year. In she was awarded Young musikdrama Artist of the Year in Denmark’s Copenhagen musikdrama Festival. As early as , Elsa Dreisig had been awarded both Second Prize of the Queen Sonja Competition in Oslo as well as First Prize and Audience Prize of the New Voices Competition of the Bertelsmann Foundation in Gütersloh.

From through she was a member of the opera studio of the Berlin State Opera where she has since performed leading roles such as Pamina (Die Zauberflöte) and Euridice (Orfeo ed Euridice). Further engagements within the same period included no less than her debut with the Opéra national de Paris (Pamina), the Zurich musikdrama (Musetta in La Boheme) and the Festival d’Aix-en-Provence (Micaëla in Carmen). Her debut with the Berlin Philharmonic Orchestra under Sir Simon Rattle in Berlin, Salzburg, Lucerne and Paris (Haydn’s Die Schöpfung) was hailed a sens

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