Profil recensioner
3the evening was seized by Konu Kim's astonishing, ringing Arnold, a great, concentrated physical performance expressed through fabulous vivid and fearless singing, including a ten-second top C and some real distilled angst as Tell and Walter worked him over to rouse his patriotism.
Kim skillfully brings to his character the sense of willfulness and arrogance to continue to pursue Dai Chi and to resist the schemes of the Jia and Xue women who favor the Emperor’s marriage plans for Bao Yu.
Tidigare produktion recensioner
8the evening was seized by Konu Kim's astonishing, ringing Arnold, a great, concentrated physical performance expressed through fabulous vivid and fearless singing, including a ten-second top C and some real distilled angst as Tell and Walter worked him over to rouse his patriotism.
Audiences are won over by Konu Kim as Ernesto from his first line as he belts out each word with such power, characterised by a familiar sulky teenage angst which perfectly encapsulates the emotional child in all of us.
Kim’s tight teenager at the start gave way to a powerful performance with good attention to text and tone, as well as softer aspects captured in his picnic duet with Battistelli, which included a delightful comedic interplay with the chorus.
As Ferrando, Konu Kim has a meltingly lovely tenor voice with easy top notes that shines in the tender love song “Un’aura amorosa” and then sharpens up when he feels betrayed by Dorabella’s interest in the disguised Guglielmo, “Tradito, schernito.”
Fridman was powerful, Konu Kim gave a profound performance filled with different colors and emotions. No one could ever anticipate what Kim would do with the role as he first entered Act one, singing with a bright timbre and giving each phrase a smooth and delicate color. His phrases starting out with a piano sound and would eventually crescendo to a forte with smoothness and facility. That bright optimism could be seen in the aforementioned duet with Sylvia. While Fridman sang with delicacy and darker hues, Kim’s timbre contrasted with gleam, his high notes projecting beautifully into the hall. In the role of the King, Florian Sempey brought an imposing baritone to his character. From the start of the performance, he gave off an air of authority that started to weaken throughout the evening. In the his duet with Sylvia, Sempey brought a refined and controlled timbre that showcased his power over her. He forced Fridman into his arms undressing himself and insinuating forced intercourse. Overall the orchestra was solid but Tingaud sometimes indulged in slower tempi particularly in the ensemble strettas. It may have added to the drama to give more time to the ensembles but it seemed more French in style than the energetic Italian Bel Canto. The chorus led by Fabio Tartari was also part of the success of the evening. The changes in character that were conveyed showed their versatility. At the beginning they were boisterous, animated, joyful and prepared for a party, singing with unending energy. In the third act, the men’s chorus was gossipy, singing in a soft staccato as they were conspiring and entertaining themselves with the secret of Sylvia being the king’s mistress. In the final act the ensemble sang with an angelic tone, bringing the opera to a powerful and heavenly finale. Overall this was an unforgettable evening that thankfully has been recorded for release through Dynamic and presented Lidia Fridman and Konu Kim as promising figures in the opera world.
