Michael Peverett: Ryno

Saturday, January 24, 2026

Ryno

Ryno, or The Knight Errant

A Play with Music in Three Acts

First performed at the Kongl. Stora Theatern [ = Kungliga Operan, Stockholm] on 16 May 1834.

Words by Bernhard von Beskow (1796 - 1868).

Music by Eduard Brendler (1800 - 1831) "and a Music Lover" [ = Prince Oscar, subsequently King Oscar I (1799 - 1859)].

I was lucky enough to be given the double-CD of Ryno for Christmas. It's a 1992 recording by the Gothenburg Symphony Orchestra and choir members of Gothenburg's Stora Teatern conducted by Anders Wiklund. The Ryno project really shouldn't have survived Brendler's untimely death, but it did, and presents you with a ready-made quiz question about which king was an opera composer.

From the very start of the uplifting overture it's marvellous listening: Brendler's Weberian intensity, Prince Oscar's Rossiniesque vivacity, not forgetting the fine ballet episodes adroitly borrowed from the compositions of the former royal Kapellmeister Edouard Du Puy (c. 1770 - 1822). (The recording is also on YouTube: https://youtu.be/duWyujh8-B4?si=InbW0_LDivDzvc8p .)

But it's also a bit of a puzzle, because this recording of Ryno only includes the musical numbers, not the spoken scenes in between. The unfolding story is difficult to follow, and the synopsis isn't entirely accurate (e.g. it's Christopher, not Arnold, who breaks down upon hearing Botvid's song).

Here, then, is a roughly-translated sample of what listeners are missing.

[Facsimile of the Swedish text, published in 1834:

https://litteraturbanken.se/f%C3%B6rfattare/BeskowBvon/titlar/Ryno/sida/I/faksimil .]

Bernhard von Beskow's note:

This piece was intended to be given for the first time at the opening of the Royal Theatre after its repair, in the autumn of 1831. The meritorious and very promising composer Brendler had undertaken to write the music, but he was unexpectedly taken away by death, when he had completed about a third of his work. In order that the ingenious features which Brendler laid down in this composition should not be lost to their intended purpose, and in order to provide a benefit for his widow, the completion of his work was taken over by a young musical genius, who has now performed it in a manner which, according to the judgment of competent connoisseurs, will in more than one respect do honour to Swedish music.

The subject is partly taken from an older piece which the author saw during his first trip to one of the small theatres in Germany, and whose name he does not now remember, but the whole thing has been substantially altered. The play itself, as the reader will easily discover, is a hasty work, as usually happens when a play is to be written for a certain occasion and within a couple of weeks; but given the small importance generally attached to the text of an opera, the author has not thought that a revision of it is inevitably required, and therefore leaves the play as it originally flowed from the pen. During the production, there were a few mainly insignificant changes.

The set for Act I of Ryno (1834 watercolour by P. G. Zelander)

Act I, Scene 1

An open space outside Arnold's castle, adorned with lamps and lit by fires. The peasants are assembled to tie wreaths, and the Chorus with Dance begins as soon as the curtain rises. BOTVID [the head gardener]and JÖSSE [his servant], standing on a pair of steps, are lighting and tending the lamps. In the background Arnold's castle is seen, magnificently illuminated. In front of the stage, close to the spectators, lies Christopher's hut and next to it is a burial mound with a large stone cross.

Chorus with Dance

By the stars' twinkling beams

By the flowers' fragrant wreath

The joyful love is painting

Its future in glorious splendour

When night with its veil covers

Each torch in its high-vaulted hall

Then waiting faith shall offer

The lover the cup of joy

JÖSSE

Engagement and wedding within two days... Quick work, Gaffer!

BOTVID

Do you think so?

JÖSSE

Not that I have anything against it.

BOTVID

That's big of you, that is....

JÖSSE

I should like to do the same thing....

BOTVID

Just think about the lamps, not getting wed...

JÖSSE

You can think of both at the same time. If only one were as easily done as the other! (coming downstage) I still think that His Grace could put in a good word for me, when I've saved his life so many times.

BOTVID

What do you mean?

JÖSSE

Isn't it me who lights the lamp in the dark hallway at night? If it weren't for that lamp, someone might break their neck on the stairs, as likely the Knight as anyone. —

BOTVID (coming downstage)

There we are, now everything's in order. (The people have gradually gathered around them.) I'm saying that . . . and yet . . it seems to me more like a funeral than a wedding.

JÖSSE

Our old Knight Thure's funeral was even more solemn. It was a real joy to see our gracious master weeping. Yes, he could put out whole log-fires with his tears.

THOMAS (half-aloud.)

Crocodile tears!

BOTVID (taking his hand.)

Well said. (looking around.) As for our gracious master, well . . . No one deceives everyone . — From that downcast eye and those dissembled features a secret joy peeked out. He could barely hide it until the day for Miss Agnes to set aside her mourning dress. And that's today. Now there'll be no more need to dissemble.

THOMAS

She doesn't seem to love him.

BOTVID

No, she's much to be pitied.

THOMAS

But why did our blessed lord make it a condition in his will that she should marry the knight?

BOTVID

(looks closely at the bystanders, who have gathered around him.)

There's no spy here, I'm thinking. So I'll tell you what people are whispering to each other. The will is probably false. What happened to our blessed master . . . . But why trouble you with this, which is only my own guesswork?

THE PEASANTS

Oh yes, oh yes, tell us! . . . . tell us what you know about it.

BOTVID

You all love your old master, don't you?

THOMAS

Not one of us but grieved for him as for a father.

BOTVID

Then I've nothing to fear from you, and I'll say what I know. I've guessed most of it, and there are no proofs of the truth of what I say. Believe as much of it as you like. But listen. You remember that, about twelve years ago, our old knight returned from a journey in a foreign land, and brought with him Arnold, who once saved his life in a battle. Arnold is brave and obliging, and was particularly happy at that time, no one can deny that. Knight Thure used to say: I have often complained that heaven has denied me a son; but Arnold is to me everything a son can be. If Miss Agnes had any liking for him, her father would probably have offered him both her daughter and her castles. But she never wanted to hear his declarations of love. However, the time came when Agnes was of age to be married, and the burghers were looking abroad.

THOMAS

I begin to understand. It was not by chance that Arnold kept the castle closed to all foreign visitors.

BOTVID

The talk of our young lady's beauty spread just the same, and several brilliant offers were made. At that time, the old knight made a journey to St. Magnild's chapel in Skåne, in consequence of a vow he made during the war. He was accompanied only by his valet Christopher, who lives in there, (pointing to Christopher's hut), and the knight died, it's said, from being struck down by illness on the way.

JÖSSE

And Gaffer reckons he was struck down more than once? (miming several blows.)

BOTVID

Shut up, idiot. I don't reckon anything. —Christopher brought our master's signet ring to Arnold, as a sign that he was to be his heir. The rest you know.

THOMAS.

In truth I can hardly recognise Christopher since Knight Thure died. He creeps around like a bad conscience. But maybe grief also has a part in it. One shouldn't believe everything people say. He's served our master since childhood, and has always been known as an upright and faithful servant.

BOTVID

The other day, when I sang the ballad of Knight Brun who was killed by his stable-lad, he wept bitterly. ...