Léirmheasanna próifíle
4Norwegian Mads Wighus plays a Pinkerton weaker and more pitiful than a real bastard: he finally seems overwhelmed by the tragedy he has caused, his final repentance seems very sincere. This characterization of the character accommodates well with a certain softness in the accent ... The performance is convincing, with in particular a well-mastered “ Addio, fiorito asil ”. (...review translated from french to english...)
Mads Wighus, who quite recently changed from baritone to tenor, sported a powerful lirico-spinto voice with brilliant, ringing top notes, but also the ability, just as his Mimì, to scale down and sing softly. The first act finale was a real treat.
Léirmheasanna Táirgeadh san am atá caite
2The central romantic couple, Mimì and Rodolfo, are of course crucial for a successful performance, and here we had two trump cards, Paulina Pfeiffer and Mads Wighus. Paulina has been the prima donna in several of the productions at Dala-Floda Opera Festival and always stood out as a sensitive interpreter with magnetic stage presence, never over-acting but deeply involved. Here, as Mimì, she caught the shyness and vulnerability of the seamstress to perfection; so, the sudden infatuation and, in the third act, the sorrow and desperation. Her death scene was immensely moving. Her glowing singing in the arias and the love duet were highlights and, not to forget, the inwardness of the more intimate scenes. A Mimì who will long be remembered. Mads Wighus, who quite recently changed from baritone to tenor, sported a powerful lirico-spinto voice with brilliant, ringing top notes, but also the ability, just as his Mimì, to scale down and sing softly. The first act finale was a real treat.
La Boheme is a resounding success
