DISKOGRAFI:
RECENSIONER
Lennart Bromander: Ttistan und Isolde, 2012 (Götteborg)
Lars Cleveman imponerade stort i detta för de flesta tenorer övermäktiga vokala hinderlopp, och hans insats lyftes genom Lanos känsliga friläggning av Wagners sagolikt rika musik.
Mike Ashman: Götterdämmerung, Manchester 2010 (CD)
Brian Wilson: Götterdämmerung, Manchester 20010 (CD)
Lars Cleveman is a thinking, tragic Siegfried, well matching his conductor’s conception of the work.
Josmar Lopes: Götterdämmerung at the Met, 2013 (New York)
Swedish tenor Lars Cleveman was a light-voiced Siegfried, boasting fine delivery and excellent enunciation, mixed with a slightly nasally texture. He sounded sufficiently like Jay Hunter Morris (who sang the first round of Siegfrieds) to fit into the general scheme of things. Cleveman showed stamina and strength in his Act II oath, as well as wonderfully clarion tone in his emotionally satisfying Act III narrative. The voice stayed fresh and true throughout, which is a marvel in this day and age. We’ve been blessed with a bevy of fine heldentenors lately, which is a most welcome trend I have to say.
Göran Försling: Siegfried, 2006 (Stockholm)
Lars Cleveman has sung a wide variety of roles through his career, which also includes working from time to time with his own hard-rock band. Last December he was a good Des Grieux in the new Stockholm production of Manon Lescaut and he can be heard to good advantage in the title role of Don Carlo from Stockholm on a fine Naxos recording. He is no newcomer to heavy Wagnerian parts either. Four or five years ago I heard him as Tristan in the little theatre in Karlstad in western Sweden. He impressed greatly then, untiring until the very end of that gigantic part. But Siegfried is just as big and in the far larger opera house in Stockholm and with a full-size orchestra he once or twice sounded just a little too small – but I stress: only occasionally. In general, looking like the sulky teenage gangster that Siegfried certainly is, he executed the part with aplomb, his steely tenor cutting through the orchestra like a welding flame. But he also showed another side of the character; after all, Siegfried has some human sides too, especially when he, in the Waldweben scene, wonders about his mother. Then he expressed this with warmly lyrical outpourings that not every Heldentenor could manage.
Paul J. Pelkonen: The Met presents the last Götterdämmerung of 2013 (New York)
Her Siegfried was the Swedish tenor Lars Cleveman. He displayed a bright, ringing upper top that (in the first scene) turned shrill under pressure. Mr. Cleveman sounded best in the lower parts of this long role, improving as the opera went on. (His baritonal coloring made him quite convincing when disguised as Gunther.) He capped his performance with an entertaining Rhinemaiden scene, a movingly sung Act III narrative and death scene guaranteeing the hero a fine exit and enthusiastic applause.
AUDIO/VIDEO
Eliasson Artists
Youtube
Siegfried (Martin Rössel-Dimitrovajunkie)
Götterdämmerung (Landesteater Linz)
Parsifal (2014brb87)
Lennart Bromander: Ttistan und Isolde, 2012 (Götteborg)
Lars Cleveman imponerade stort i detta för de flesta tenorer övermäktiga vokala hinderlopp, och hans insats lyftes genom Lanos känsliga friläggning av Wagners sagolikt rika musik.
Mike Ashman: Götterdämmerung, Manchester 2010 (CD)
Brian Wilson: Götterdämmerung, Manchester 20010 (CD)
Lars Cleveman is a thinking, tragic Siegfried, well matching his conductor’s conception of the work.
Josmar Lopes: Götterdämmerung at the Met, 2013 (New York)
Swedish tenor Lars Cleveman was a light-voiced Siegfried, boasting fine delivery and excellent enunciation, mixed with a slightly nasally texture. He sounded sufficiently like Jay Hunter Morris (who sang the first round of Siegfrieds) to fit into the general scheme of things. Cleveman showed stamina and strength in his Act II oath, as well as wonderfully clarion tone in his emotionally satisfying Act III narrative. The voice stayed fresh and true throughout, which is a marvel in this day and age. We’ve been blessed with a bevy of fine heldentenors lately, which is a most welcome trend I have to say.
Göran Försling: Siegfried, 2006 (Stockholm)
Lars Cleveman has sung a wide variety of roles through his career, which also includes working from time to time with his own hard-rock band. Last December he was a good Des Grieux in the new Stockholm production of Manon Lescaut and he can be heard to good advantage in the title role of Don Carlo from Stockholm on a fine Naxos recording. He is no newcomer to heavy Wagnerian parts either. Four or five years ago I heard him as Tristan in the little theatre in Karlstad in western Sweden. He impressed greatly then, untiring until the very end of that gigantic part. But Siegfried is just as big and in the far larger opera house in Stockholm and with a full-size orchestra he once or twice sounded just a little too small – but I stress: only occasionally. In general, looking like the sulky teenage gangster that Siegfried certainly is, he executed the part with aplomb, his steely tenor cutting through the orchestra like a welding flame. But he also showed another side of the character; after all, Siegfried has some human sides too, especially when he, in the Waldweben scene, wonders about his mother. Then he expressed this with warmly lyrical outpourings that not every Heldentenor could manage.
Paul J. Pelkonen: The Met presents the last Götterdämmerung of 2013 (New York)
Her Siegfried was the Swedish tenor Lars Cleveman. He displayed a bright, ringing upper top that (in the first scene) turned shrill under pressure. Mr. Cleveman sounded best in the lower parts of this long role, improving as the opera went on. (His baritonal coloring made him quite convincing when disguised as Gunther.) He capped his performance with an entertaining Rhinemaiden scene, a movingly sung Act III narrative and death scene guaranteeing the hero a fine exit and enthusiastic applause.
AUDIO/VIDEO
Eliasson Artists
Youtube
Siegfried (Martin Rössel-Dimitrovajunkie)
Götterdämmerung (Landesteater Linz)
Parsifal (2014brb87)
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