söndag 3 december 2017

BENGT RUNDGREN, bas (1931-2008)

Bildresultat för bengt rundgren


Repertoar

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)




Recensioner

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

Audio/Video

Tristan und Isolde





Das Rheingold



Siegfried


söndag 12 november 2017

MÄSTERSÅNGARNA I NÜRNBERG, STOCKHOLM 1962

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

MEDVERKARE

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)

Bildresultat






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

Recensioner


Intervjuer och dokumentära 










lördag 22 juli 2017

ELISABET STRID – LEUCHTENDE LIEBE (CD)


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

Ragnarök, Stockholm, maj 2017 (Markus Gårder)

MEDVERKANDE

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.

RECENSIONER


(...) 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.(...)

AUDIO





lördag 24 juni 2017

SIEGFRIED, STOCKHOLM, MAJ 2017


MEDVERKANDE

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.

RECENSIONER


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.

AUDIO






fredag 23 juni 2017

VALKYRIAN, STOCKHOLM, MAJ 2017


MEDVERKANDE

Brünnhilde – Nina Stemme.
Wotan – John Lundgren.
Hunding – Lennart Forsén.
Sieglinde – Cornelia Beskow.
Fricka – Katarina Dalayman.
Siegmund – Michael Weinius.
Helmwige – Sara Olsson.
Gerhilde – Susanna Stern.
Orthilde – Angela Rotondo.
Waltraute – Marie-Louise Granström.
Siegrune – Monika Mannerström Skog.
Rossweisse – Johanna Rudström.
Grimgerde – Kristina Martling.
Schwertleite – Katarina Leoson

RECENSIONER


(...) The unified setting in Staffan Valdemar Holm's production emphasises the classical unities with the action plausibly taking place in a brief time frame, focused dramatically on dialogues: Siegmund and Sieglinde; Wotan and Fricka; Brünnhilde and Wotan. Memories are unpeeled in the narrations and significant events happen off-stage. We hear the fight between Siegmund and Hundling, and see the reaction in Sieglinde's terrified response as Brünnhilde bears the shards of Nothung wrapped in Siegmund's bloodied shirt.

Cornelia Beskow's outstanding Sieglinde shone vocally with all the luminosity of a Northern late spring day, with an underlying resonance as she physically blooms in “Du bist der Lenz”, her auburn Pre-Raphaelite tresses cascading freely. Earlier, under her husband's dominance, her passive-aggressive demeanour is clear in her tight-laced rigidity, as she bobs a formal curtsey to him, while threatening him with a bread knife behind his back. As her unkempt twin, Siegmund, Michael Weinius' stalwart Heldentenor thrilled in his cries of “Wälse”, and beguiled with his lyricism in “Winterstürme”. With Lennart Forsén's oppressive squire of a Hunding, all three singers made for a highly charged Act 1.

Nina Stemme as Brünnhilde delivered her opening battle cry, in Victorian riding habit brandishing her crop like one of Trollope's racier fox-hunting heroines. Her full-toned vibrant voice no longer quite commands the spear-point sharpness and trills of the cry, yet her stillness and watchfulness during Wotan's narration draws attention. Supremely so in the 'Todesverkündigung', the lofty transcendent sadness and rich nuance of her singing was emotionally overwhelming. Matching her, Weinius was heroically resigned and heart-breakingly tender in his care for his increasingly agitated sister.

John Lundgren (Wotan) and Katarina Dalayman (Fricka) charted every blow in their marital argument. Dalayman, regal and opulent of voice, wheedling and demanding the abandonment of Siegmund, snaps her husband's billiard cue and forces him into a handshake and a frigid embrace of submission. Lundgren's interpretation deepens as he is bound by the constraints of his own actions, his Heldenbariton surmounting with ease even the most violent orchestral outbursts.

(...) From the opening storm, the orchestral playing under the baton of Marko Letonja was on an altogether higher level than the previous evening, yielding grandeur, fire and tenderness through well graduated dynamics and tempi. In conclusion, an evening of great Wagner singing making one eager for the next instalments. 


(...) Extra härligt också att få bevittna ett genuint genombrott: sopranen Cornelia Beskow.

Det är som Sieglinde hon triumferar, den olyckliga tvångsgifta kvinnan som förlöses i kärlek till sin bror och inspirerar sin kompositör till oemotståndlig klanglyrik. Beskow, lång och slank, presenterar sig med en lite gäll kant på stämman till det hårdknutna kroppsspråk som hör situationen till. Därför blir hennes blomning extra verkningsfull, när rösten expanderar med rika övertoner och ett härligt glitter. En intelligent och känslig Sieglinde, som måste älskas.

Och det gör hennes tvillingbror i Michael Weinius tunga gestalt; visuellt ett tveksamt släktskap men känslomässigt desto trovärdigare. Vad än Weinius gör, så är det ärkemusikaliskt och genomtänkt. Rimligtvis borde han räknas till det internationella toppskiktet av hjältetenorer och ha de riktigt hårdkokta rollerna som Tristan och Siegfried inom räckhåll.

Nu kan Sverige i varje fall mönstra en Wotan i världsklass, den mäktigaste av Wagnerska barytoner. John Lundgren, i många produktioner partner till Nina Stemme, stiger här fram som en skrämmande modern maktmänniska.

(...) I en unikt tidlös scen blottar han sitt innersta för dottern Brünnhilde. Samspelet här mellan Lundgren och Stemme är värt hela Ringen.

(...) Ett riktigt teaterstycke, som Holm & Møller förvaltat med humoristisk skärpa.

(...) Den gästande slovenske dirigenten Marko Letonja övertygar inte här; intrycket är orepeterat och ogestaltat. 

RECENSIONER