Profile reviews
40Der Star des Abends ist Kirstin Sharpin als Isolde. Die Sängerin überzeugt mit einem klaren, sicheren, wortverständlichen und geschmeidigen, an den richtigen Stellen kräftigen Stimme; auch in Sachen Mimik und Körpersprache wirkt alles natürlich." "The star of the evening is Kirstin Sharpin as Isolde. The singer convinces with a clear, secure voice that communicates words clearly and is supple and powerful in the right places; everything also seems natural in terms of facial expressions and body language.
...wo man doch lieber fasziniert, ergriffen sein will. Das freilich gelingt der formidablen Kirstin Sharpin mit ihrem sagenhaft disziplinierten... hochkompetenten Rollendebüt als Isolde." "...where one would rather be fascinated, gripped. The formidable Kirstin Sharpin succeeds in this with her fabulously disciplined... highly competent role debut as Isolde.
Past Production Reviews
5...wo man doch lieber fasziniert, ergriffen sein will. Das freilich gelingt der formidablen Kirstin Sharpin mit ihrem sagenhaft disziplinierten... hochkompetenten Rollendebüt als Isolde." "...where one would rather be fascinated, gripped. The formidable Kirstin Sharpin succeeds in this with her fabulously disciplined... highly competent role debut as Isolde.
Kirstin Sharpin… ist eine souveräne Isolde. Mit differenziert eingesetzten stimmlichen Mitteln vermittelt sie ohne jegliche Ermüdung die seelischen Abgründe der Rolle zwischen Verzweiflung, Aufbegehren, Liebesrausch und Entsagung. Selbst in exponierten Lagen klingt die Stimme immer kultiviert, niemals schrill." "Kirstin Sharpin meistert den Schlussgesang der Isolde überzeugend. Es ist weniger ein Liebestod, eher die „Verklärung“ und damit im Sinne Wagners."\ "Kirstin Sharpin... is a sovereign Isolde. With nuanced vocal means she conveys without any fatigue the mental abysses of the role between despair, rebellion, love frenzy and renunciation. Even in exposed registers, the voice always sounds cultivated, never shrill." "Kirstin Sharpin masters the final song of Isolde convincingly. It is not so much a love-death, more the "transfiguration" and thus in Wagner's sense.
In this, the 250th anniversary of Beethoven's birth, concert halls around the world are bursting with his music. And rightfully so. Possibly no other composer took from the past and gave to the future like Ludwig. Melbourne Opera begins the city’s main-stage season with his only opera, Fidelio.In Seville, the jailor’s daughter Marzelline has fallen for a newcomer, Fidelio, who is actually a woman in disguise. The story follows the woman, Leonore, as she attempts to free her husband, Florestan, a political prisoner of governor Don Pizarro. The fight for justice was reflected by political life during the Napoleonic occupation of Vienna in the early 19th century, when Fidelio premiered. This opera is not flawless; some of the vocal writing for Leonore and Florestan is utterly merciless and the spoken dialogue can be a bit naff. Thankfully, the score is magnificent. As Marzelline, Rebecca Rashleigh is a perfect Mozartian soprano. She’s sweet and sassy, her voice is even with a ringing, clear top. Adrian Tamburini brings austerity and commanding vocal presence to father Rocco. As the maniacal Pizarro, Warwick Fyfe’s booming baritone comes walloping out into the Athenaeum auditorium. Fyfe also has the greatest success with spoken German dialogue. Bradley Daley, as Florestan, is in absolutely superb voice. Opening Act II on a high G, lying on his stomach no less, Daley starts strong and his hugely impressive tenor never falters. The audience is required to wholeheartedly invest in the title character’s struggle and celebrate her steadfast loyalty in the face of oppression. Young dramatic soprano Kirstin Sharpin certainly has the voice, though her characterisation didn’t quite convince in portraying unfaltering conviction and bravery. What a coup the relationship between Anthony Negus and MO is for Melbourne. His intelligent conducting is incredibly spirited, yet exact and emotive. The orchestra follows him to the hilt, the famous Leonore 3 overture was rapturous. It’s also the best singing you’ll hear from the Melbourne Opera chorus. One of the most transcendental moments in all opera is Fidelio’s Act I quartet, where Beethoven’s mastery shines. And it did so here, Negus controlling a perfectly balanced ensemble, where the theme was gently, respectfully passed from one voice to another. The orchestra was deftly woven throughout, playing with passion and purpose. If the rest of Beethoven’s birthday celebrations are this affecting, Melbourne is in for a year-long party to remember.
