WAGNER I SVERIGE

lördag 20 juni 2015

HELGE BRILIOTH, tenor (1931-1998)

Biografi

Repertoar

Bayreuther Festspiele

Diskografi

Operaclass.com

Opera Depot

Audio/Video

Parsifal Akt I (Misha Horenstein)

Parsifal Akt II (Misha Horenstein)

Parsifal Akt III (Misha Horenstein)

Tristan och Isolde Akt II (Opera Depot)

Ragnarök (Liederoperagreats)

Die Walküre Akt I

lördag 6 juni 2015

BIRGITTA SVENDÉN, alt

BIOGRAFI

RECENSIONER:

Donal Henahan: Review/Opera; Wagner's 'Rheingold,' Harbinger of Met 'Ring' (NYT)

The night's only other debutante was Birgitta Svenden, a rich-toned Swedish mezzo, as Erda.

Presto Classical: Wagner, Siegfried, Levine (GRAMOPHONE)

They, the Rhinemaidens and the lesser gods – especially Birgitta Svendén's keenvoiced Erda – outclass their betters.

Göran Forsling: “From Wagner Swimmer to Opera Director” (MusikWeb)

INTERVJUER:

Lena Wreede: Operachefen har slutat sjunga (SvD)

Diana Holmberg: Birgitta Svendén (HD)

BAYREUTHER FESTSPIELE

UTMÄRKELSER

DISKOGRAFI:

Das Rheingold, New York, 1990 (WeicheWottan)

lördag 16 maj 2015

LARS CLEVEMAN tenor

BIOGRAFI

BAYREUTHER FESTSPIELE

REPERTOAR

DISKOGRAFI:

House of Opera

Premiere Opera

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)

söndag 10 maj 2015

SEX SVENSKA "SENTAS BALLADER"

Elisabet Strid (elleolle)

Ingela Brimberg (naiveclassique)

Nina Stemme (Onegin65)

Catarina Ligendza ()

Birgit Nilsson ()

Astrid Varnay ()

söndag 26 april 2015

INGELA BRIMBERG, sopran

BIOGRAFI

REPERTOAR

DISKOGRAFI:

House of Opera
Naîve
Premiere Opera

RECENSIONER

Claes Wahlin (AF) Valkyrian, Akt III: Kvällens överraskning var Ingela Brimberg, hennes Sieglinde var magnifik, som en laserstråle fyllde hennes förtvivlan Berwaldhallen och i hennes fall kan man faktiskt ana Birgit Nilssons ande; rösterna är inte helt väsensskilda, vågar jag påstå eftersom jag minns Nilsson från de sista åren av hennes karriär.

Lars Hedblad (SvD) Valkyrian, Akt III: Sångarnobless alltså i huvudrollerna, men sopranen Ingela Brimberg, vilken nyligen haft framgång som Senta, skämdes inte för sig i sällskapet. I ett dramatiskt utspel gav hon vokal kraft åt den oroliga Sieglinde, som är havande med Siegfried.

Georg Loomis (NYT) Den flygande holländaren: The soprano Ingela Brimberg negotiated Senta’s treacherous Ballad excitingly and endowed the emotionally charged heroine with generous, penetrating, if occasionally raw sounding, tone.

AUDIO/VIDEO

Der fliegende Holländer