söndag 3 december 2017

BENGT RUNDGREN, bas (1931-2008)

Bildresultat för bengt rundgren


Hagen (Götterdämmerung)
Fafner (Das Rheingold-Siegfried)
König Heinrich der Vogler (Lohengrin)
König Marke, Steuermann (Tristan und Isolde)
Daland (Der fliegende Holländer)
Pogner, Ein Nachtwächter (Die Meistersinger von Nürnberg)


Mogens H. Andersson: Bengt Rundgren bas Europa som arbetsfält (www.operalogg.com)


Tristan und Isolde

Das Rheingold


söndag 12 november 2017


Wagner: Die Meistersinger von Nürnberg (In Swedish) - S. Björling, Svanholm, Tyrén, Lundborg, Talvela, Sandberg. Stockholm, 1962

MÄSTERSÅNGARNA I NÜRNBERG (Die Meistersinger von Nürnberg)
På svenska


Hans Sachs - Sigurd Björling
Veit Pogner - Arne Tyrén
Kunz Vogelgesang- Olle Sivall
Konrad Nachtigall- Bo Lundborg
Sixtus Beckmesser- Anders Näslund
Fritz Kothner Erik Sundquist
Balthasar Zorn -Conny Söderström
Ulrich Eißlinger - Arne Olesson
Augustin Moser - Sture Ingebretzen
Hermann Ortel - Georg Svedenbrant
Hans Schwartz - Olle Lilltved
Hans Foltz - Martti Talvela
Walther von Stolzing - Set Svanholm
David - Sven-Erik Vikström
Magdalene - Margareta Bergström
Ein Nachtwächter - Folke Jonsson

Sixten Ehrling, dirigent

Stockholm, 1962

ELISABETH SÖDERSTRÖM, sopran (1927-2009)


Wagner: Die Meistersinger von Nürnberg (In Swedish) - S. Björling, Svanholm, Tyrén, Lundborg, Talvela, Sandberg. Stockholm, 1962


Intervjuer och dokumentära 

lördag 22 juli 2017


OehmsClassics: Strid, Elisabet: Beethoven & Wagner: Leuchtende Liebe

Der Titel  dieser ersten Recital-Einspielung der in Malmö geborenen Elisabet Strid ist – soviel sei vorab übergreifend erwähnt – Synonym für den Klang des jugendlich dramatischen Soprans, der sowohl in den weichen Lyrismen als auch in den durchschlagenden Forte-Passagen eine mitreißende Leuchtkraft entfaltet. Die pure Tongebung nimmt dabei genauso gefangen wie die Poesie, mit der die Künstlerin die einzelnen Rollen und Situationen ausfüllt. (...)

torsdag 20 juli 2017


Ragnarök, Stockholm, maj 2017 (Markus Gårder)


Siegfried – Lars Cleveman
Brünnhilde – Nina Stemme
Waltraute – Katarina Dalayman
Hagen – Falk Struckmann
Gunter – Ola Eliasson
Gutrune – Sara Olsson
Alberich – Johan Edholm
Första nornan – Katarina Leoson
Andra nornan – Susann Végh
Tredje nornan – Angela Rotondo
Woglinde – Vivianne Holmberg
Wellgunde – Susann Végh
Flosshilde – Johanna Rudström

Kungliga hovkapellet. 
Dirigent: Marko Letonja. 
Regi: Staffan Valdemar Holm. 
Kungliga operan, Stockholm.


(...) Ragnarök: the Swedish title for Götterdämmerung resonates with Old Norse folk memories of universal inundation and overthow of the order of the gods. In Staffan Valdemar Holm's production, Wagner's mythic Der Ring des Nibelungen is set roughly in the period of its first Swedish performances, its imagery refracted through a 19th-century prism. 

(...) Their half-brother Hagen, in contrast, domineers in a performance of brutish massiveness by the gritty, baleful bass of Falk Struckmann, the only non-Swedish member of this entire Ring cast. Seemingly taking the production into his own hands, he stamps rhythmically and actually conducts the Gibichung vassals, stirring them into a semblance of war-like aggression, though, sober-suited and wearing Homburg hats, they resemble an assembly of family solicitors. Instead of hurtling towards an oath driven conclusion,

(...)  Katarina Dalayman as Waltraute employs her refulgent mezzo to urgent declamatory effect. Lars Cleveman's forthright, uncomprehending Siegfried hits every note with blade like thrust, only in his death was a sense of pathos and awareness missing. His untiring resilience is remarkable testament to his technique considering that he sang in the 1980s as a young Gibichung auxillary chorus member. John Edholm's black-voiced Alberich lacked a sense of disembodiment implicit in his brief dream-like scene with Hagen.

The peak and summation of The Ring Cycle is reached in Brünnhilde's Immolation and it is here that Nina Stemme sensationally binds the strands, like the ropes of fate, into a mighty ending, with the all-surmounting vocal amplitude and expressivity she has harnessed throughout, whether in ecstastic love, raging scorn, defiance and sadness. Without the metallic incisiveness of some Scandinavian dramatic sopranos, her unstinting power and generosity is tempered by the integrated warmth and depth of her chest tones. Hurling out the great oaths of Act 2, “Heilige Götter, himmlischer Lenker”, Stemme's Brünnhilde prowls the stage like a tigress, her blazing eyes cowering all.

(...) Stemme, dressed simply in black, sings a fiery, transcendent Immolation as flames, flood and the Rhinemaidens flicker on the screen. The Valhalla motif wells up in the orchestra and Wotan's tear-streamed face is beheld as Brünnhilde sings her moving benediction, “Ruhe, du Gott”. His eyes dim and close as the last reel runs out to a white screen, and Brünnhilde advances serenely towards the front of the stage as the final bars fade away.

The conducting and playing under Marko Letonja, scaled new heights in this conclusion to The Ring. The quite reverberant acoustic favoured a bass heavy saturated sound, yet Latonja achieved thematic clarity and a grasp of the long structure, particularly in a staggering Funeral March, which flowed seamlessly through to the final diminuendo. (...)

I Staffan Valdemar Holms knappt tio år gamla uppsättning av den sista delen av "Nibelungens ring", "Ragnarök", kretsar mycket kring dramats mest lovande kärlekspar - sopranen Nina Stemmes Brünnhilde och tenoren Lars Clevemans Siegfried. 

Siegfried har gett Brünnhilde en kärleksgåva i form av den ring som har makt att skänka sin ägare världsherraväldet. 

Inte ens när hennes valkyriesyster Waltraute (Katarina Dalayman) vädjar och varnar för dess förstörande kraft, vill Brünnhilde släppa ifrån sig den.

(...) en som konspirerar mest i jakten på ringen - och som senare också dödar Siegfried - är Hagen som spelas av den suveräne basen Falk Struckmann
Struckmann är stundtals en riktig showman, inte minst som självklar ledare för ett något överförfriskat jaktlag i ett av Wagners mäktigaste körverk.

En annan musikalisk höjdpunkt är Siegfrieds legendariska sorgmarsch där Hovkapellet, under ledning av Marko Letonja, understryker den ödesmättade tyngden i hjälten Siegfrieds död.

På duken i scenografen Bente Lykke Møllers biografscener projiceras stumfilmsåterblickar från Ringens tidigare delar. Allt som hänt, alla svek, bildar sedan fonden till slutscenen där Brünnhilde låter allt förstöras i lågor trots att hon återlämnar ringen till floden Rhens botten.(...)


lördag 24 juni 2017



Siegfried – Lars Cleveman.
Brünnhilde – Nina Stemme.
Mime – Niklas Björling Rygert.
Wotan – John Lundgren.
Alberich – Johan Edholm.
Fafner – Lennart Forsén.
Skogsfågeln – Marianne Hellgren Staykov.
Erda – Katarina Leoson.


A performance of Wagner's Siegfried stands or falls by its titular hero and Lars Cleveman is highly experienced, having sung the role when the production was new, though not originally cast for this revival. Crop-headed in a chain-mail byrnie, like a throwback Viking, he does not conform to Brünnhilde's vision of a childlike hero and laughing boy. His sturdy Heldentenor rang out in the Forging Scene, and he paced himself throughout the rigours of the part, sounding fresh and boisterous in the last act. In the more introspective moments, like the Forest Murmers, his sensitive phrasing and alert use of words embodied his loneliness.

As his would-be nemesis, Mime (Niklas Björling Rygert) sang truly and vividly, alternately smug and twitchy as his plans go increasingly awry. The interaction between him and Siegfried from exasperation to dependency, played out at a long kitchen counter with the forge at one end and the range at the other. With the incoming of the new free hero, John Lundgren, as Wotan/Wanderer, was of rock-like strength and majesty. His answer to Mime's third riddle, "Auf wolkigen Höh'n wohnen die Götter" rolled out grandly. In his sparring with Johan Edholm's Alberich, they played off each other with equal stature and it is no surprise that Edholm also sings Wotan in this house. In Lundgren's scene with Erda, imposingly sung by Katarina Leoson, only a certain lack of world weariness and renunciation raised the question why such a vigorous god should be ceding power to his grandson at all.

(...) Nina Stemme deployed all the burnished coppery colours of her voice, with darker undertones, reminding us that she is Erda's daughter. Heroically anguished and movingly tender in “Ewig war ich”, both she and Cleveman brought the duet to a radiant close.

The charming soubrette Woodbird of Marianne Hellgren Staykov, dressed as Sieglinde, gave an odd maternal tenderness to her promptings.

(...) From the serpentine opening, Marko Letonja conducted with muscular momentum, with rich brass sonority and poetically articulate woodwind. Only the sweeping inexorablity of the Act 3 prelude, with its interweaving themes, lacked cosmic grandeur.

Karin Olsson: Wagner – alltid med betydande obehag (Expressen)

(...) I Staffan Valdemar Holms drygt tio år gamla uppsättning är det en betydligt mer bekymmersam Siegfried - i form av den starke tenoren Lars Cleveman - som möter publiken. Clevemans hjälte försöker skuggboxa bort sin frustration innan han drar ut på sitt ödesbestämda äventyr.

(...) Mötet med kärleken Brünnhilde - sopranen Nina Stemme - förlöser Clevemans Siegfried. Tillsammans ska de bana väg för den nya tiden och den nya människan när den gamla ordningen har fallit. I en sista kärleksexplosion utlovar de gudarnas fall och välkomnar "Nacht der Vernichtung", förintelsens natt. I bakgrunden - av scenografen Bente Lykke Møllers svedda väggar - syns röken ur skorstenarna.