tisdag 16 maj 2017

DAS RHEINGOLD, STOCKHOLM, september 2006


MEDVERKANDE

Alberich: Kettil Hugaas 
Freia: Sara Olsson 
Erda: Anna Larsson 
Woglinde: Hilde Leidland 
Wellgunde: Susann Végh 

Kungliga Hovkapellet, Stockholm. 
Dirigent: Gregor Bühl
Kungliga Operan, Stockholm

RECENSIONER










Sofia Nyblom: Rhenguldet (SvD)










DIE WALKÜRE, STOCKHOLM, februari 2006



MEDVERKANDE

Fricka: Martina Dike
Siegmund: Endrich Wottrich ( )
Sieglinde: Nina Stemme
Brünnhilde: Katarina Dalayman

Dirigent: Gregor Bühl
Kungliga Operan, Stockholm


RECENSIONER







Gregor Bühl’s conducting is efficient enough, but it lacks the last ounce of passion and surge in this first act. He is more successful in the remaining acts. The singing, on the other hand, is excellent. It is good for once to hear a real Wagnerian hero, confidently sung with power and baritonal darkness, steady tone and a great deal of expression. Endrik Wottrich may not have the romantic glow of Siegfried Jerusalem in his heyday but it is an admirable achievement, so much more since he obviously wasn’t at his best. Before the second act it was announced that he was indisposed but would still carry through the performance. Hans-Peter König’s enormous black bass, which I have commented on before, rock-steady and thunderous, combined with his imposing figure, makes him a frightening Hunding, and Nina Stemme is Sieglinde. A lot has been written about her lately and she lives up to the superlatives that have been heaped upon her. Scenically she is lovely with total identification and she sings with such inward intensity that every phrase seems to come from her heart. She is a master of nuances and when she lets go at full gear in Du bist der Lenz she surpasses anything I’ve heard live and practically anything I’ve heard on records. Strong words, I know, but such warmth, such power, such beauty!


Terje Stensvold made a deep impression as Wotan in Das Rheingold in September. He impresses even more here, expressing all the different facets of Wotan’s character: his pride, his pretensions, his anger, his indecisiveness. Vocally he is superb. He has an ideal Wotan voice, a true bass-baritone with lots of power, not a hint of unsteadiness or widened vibrato and an impressive stamina. In the final scene of act III his love and care for Brünnhilde is deeply moving, singing the weakest of pianissimos with great beauty. Katarina Dalayman’s Brünnhilde, dressed in black and white, like the other Valkyries, is also a lively actor with strong charisma. Her voice is actually a size smaller than Stemme’s and also brighter, somewhat on the lyrical side but she rips off the fearsome “hojotohos” confidently and impressively, although without quite the larger-than-life explosiveness of a real “Hoch-dramatisch” soprano. 

ANDRA LÄNKAR

lördag 13 maj 2017

JOEL BERGLUND (1903-1985), baryton

Joel Berglund






Tannhäuser: Oh du mein holder Abendstern


Tannhäuser: Blick ich umherr



Der fliegende Holländer: Die Frist ist um



Der fliegende Holländer: (Krauss-Müller-Hofmann-Völker-Zimmermann-Bayreuth 1942)



Die Walküre: Leb wohl, du kuhnes herrliches Kind


Die Meistersinger von Nürnberg: Wahn! Wahn! Überall Wahn"




Du gamla, du fria (Svenska nationalsången)