It is probable that Henning Larsen would not have liked to be remembered for what is his best-known work: the Copenhagen Opera House, the object of a public dispute with his client, the magnate Mærsk Mc-Kinney Møller, who wanted to have the last word on every detail and got his way. Larsen eventually distanced himself from the design and even wrote a book as a lament, although the critics knew to appreciate its control of scale and its insertion along the city’s historical axis. After all, by then he was already one of Denmark’s most respected architects: a disciple of Jørn Utzon, the head of a successful corporate structure, and a prolific author with a versatile language that reached places like Riyadh, where his Ministry of Foreign Affairs gave him the Aga Khan Award for Architecture in 1989, or Reykjavik, whose Harpa Concert Hall landed the Mies van der Rohe just a few weeks before his death, making him forget the bitterness of his other grand musical commission.