# Lif, Lifthrasir, and the Hoddmimis Holt.



## JamieHoldham (May 13, 2016)

Starting a thread about my conception of a Opera which is all subject to change and only at the stage of birth, I have begun the libretto, listed all the characters in it, and done quite a bit of writing as to the Synposis (the plot). Although still unfinished so far, after that I will write all the text for all the characters from the beginning to the end. Then compose the music - atleast all this is my desire, will probally never get to it considering how much I am going through in my personal life.

*(Also P.S, the reason I am not posting this in the "Today's Composer" section is because I haven't begun to compose any music for it, atleast not yet, so it is more fitting to post it here, in the "Opera" section.)*

To summarise what little I have done so far and what the Opera is about:

This Opera is inspired obviously, by Wagner's Der Ring des Nibelungen. As the title of the Opera has 2, *3* nordic references;

Lif and Lifthrasir - the 2 humans that survive Ragnarok - the event foretold in the Poetic Edda and portrayed at the end of Gotterdamerung by Wagner.
Hoddmimis Holt - the magical well of Mimir inside the great tree Yggdrasil, said to give great knowledge and learning to any who drink from it's waters.

To explain the story of the Opera (in general, not detailed) here is what I have written so far in the Synposis:

The world has ended, Ragnarok too, the world submerged beneath water and begun anew. From inside the Hoddmimis Holt, the well within Yggdrasil, Lif and Lifthransir had hid and survived the battle of the Gods. Vidarr and Vali, Odin's sons, will have survived the slaughter of Ragnarok, and they now reside and live in the temple of the Gods that still survive. Modi and Magni, Thor's sons, will posess the hammer Mjolnir. The Opera tells the tale of these 4 gods and 2 humans, beginning with a prologuesque introduction; Lif and Lifthransir live in a handmade house, before the Fimbulwinter, Lif washing clothes in the pond at the house, Lifthransir comes back inside the house after fishing as they discuss there thoughts on having a child, before eventually going to bed. The next day a cold winter begins, one so cold and fierce that Lif and Lifthransir cannot leave the house to get food and supplies, Lif is panicking, but Lifthransir has a idea, he had heard of a shrine in the great tree Yggdrasil, which they could see on the horizon of there house, towering over the valleys, mountains and great rivers. Lifthransir tells Lif more of the shrine, its healing and sustanive powers, how hidden it is from the cold winter, as well as the wisdom that can be gained from drinking the well. This convinces Lif to join Lifthransir, get prepared to brave the storm and find refuge in Hoddmimis' Holt. They then both set out at once, before they are out of food, water and energy.
They finally arrive at the tree Yggdrasil, and enter through a opening at the base of the tree. As they enter the tree slowly, tired, cold and not having slept for almost a entire day, they rest on the inside, covered by the strong bark of Yggdrasil from the fierce winter blizzards. After they enter, they then both collapse from tiredness.

That's all I have done so far regarding the plot and the synposis, it might seem like alot but it's only 5% of what the entire finished synposis will look like, and it of course could, and probally will get changed and edited.

Now what kind of Opera is this? Well with wanting to be original and break through the barriers of convention, there will be no "acts", this isn't a play, its almost like film, its one continuous experience from beginning to end, no interruptions or pauses. Being at the early stages, this is the only thing of any real significance or originality so far. But there will be more innovations.

Last but not least, this isn't just a Opera, I am planning, if my life permits it, to compose a cycle of several Operas, how many, unsure yet, but this will be the first one - based on what little texts and manuscripts survive detaling the aftermath of Ragnarok, and basing the other Operas in the cycle partly on these small details, with a large part of my imagination and creativity to the best of my abilitys to continue the story onwards. Interweaving characters, motifs, music and locations all at once.

I just felt there was potential for the continuity of a cycle of Operas similar to Wagners: the Ring. But with a different storyline, different characters, locations and most importantly; music.

Probally will never finish this the way my life is headed but just wanted to reveal some of my music potential and composition ideas if worst comes to worst.


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## chill782002 (Jan 12, 2017)

Sounds very promising. I think you should start by writing an overture. Something both imposing and mystical, in the vein of Bruckner, Sibelius and, of course Richard W. Please let us know how things are progressing.


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## SiegendesLicht (Mar 4, 2012)

This sounds like a great story. Bringing the Norse myths back to life is a most worthy undertaking.



> Now what kind of Opera is this? Well with wanting to be original and break through the barriers of convention, there will be no "acts", this isn't a play, its almost like film, its one continuous experience from beginning to end, no interruptions or pauses.


Just like Wagner's Rheingold.


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## JamieHoldham (May 13, 2016)

chill782002 said:


> Sounds very promising. I think you should start by writing an overture. Something both imposing and mystical, in the vein of Bruckner, Sibelius and, of course Richard W. Please let us know how things are progressing.


I would agree when I reach the composing stage, however it depends on if I want to create the Opera first, themes, motifs and material to use in the Overture - or just create the Overture first, composing and including important motifs and themes in the beginning Prelude.


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## JamieHoldham (May 13, 2016)

SiegendesLicht said:


> This sounds like a great story. Bringing the Norse myths back to life is a most worthy undertaking.
> 
> Just like Wagner's Rheingold.


It's similar, although Wagner's later Operas reached a point of continious music, there were still 3 defined acts in every Opera, whereas in my Opera there will be no indications, most importantly, the scenes and locations will change often, instead of staring at the same background canvas for upwards of a hour or more.


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## Bettina (Sep 29, 2016)

This looks like a very promising project! I love your idea of building on Wagner's "endless melody" and writing one continuous work with no separate acts. Ragnarok is a fascinating myth that offers a lot of potential for dramatic music.

I'm confident that you will live to finish this work - the depth of your artistic vision shows that you are passionate about life and about art. Remember that you'll always have the joy of artistic creation, even if other aspects of life aren't going smoothly at the moment.


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## Pugg (Aug 8, 2014)

After so much praise given already I say: keep up the work, always interesting Jamie.


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## JamieHoldham (May 13, 2016)

Something I wanted to state that I only recently concieved of, inspired by Wagner's Tristan und Isolde, is what I want for this first Opera, a very weak but noticeable tension and lack of resolvement based on what exactly? Not sure yet, but the idea is like Tristan und Isolde which never fully resolved chords until the very end of the Opera, I don't want to fully resolve anything in this Opera of mine, nor the next 3 Operas, I want to have a lasting tension and unresolvedness over the course of a entire cycle of works, not a single piece, which to my knowledge has never been done before. Beginning barely noticeable, then gradually building up (poco a poco!) leaving the final and 4th Opera (to those that listened to the first 3, lets just say I have finished composing everything) would have a immense feeling of satisfaction and transcendence at the point of resolve.


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