Maria Gulik, 30 ans, a chanté l’amour, la joie, l’espérance et l’insouciance mais aussi la mort. Sa voix puisante, gaie ou plus triste, était sublimée, par l’un ou l’autre instrument.
La cantatrice réussit merveilleusement bien à faire passer auprès du public, aussi bien l’enthousiasme de l’amoureux, que la gravité et le désespoir, voire le soulagement de ceux que la mort vient frapper. Sa brillante prestation, soutenue par un toujours brillant pianiste, remporta un vif succès amplement mérité.
The English Philharmonic Orchestra and Chorus under Music Director Graham Wili, were impressive in size, and paired hushed sounds with thrilling moments of volume, like the always-amazing “Dies irae”. Verdi’s Requiem is a big ask for any ensemble, including this freelance orchestra and chorus of amateur singers. Verdi’s tight rhythms felt lax at times, and the visual element of the mass of musicians onstage could have stayed a bit more stoic to match the music. Yet Verdi’s writing stands for itself, and the Requiem has extraordinary power to move listeners.
Maria Gulik is also a revelation as Madame Arvidson, revealing a deep mezzo-soprano and projecting a strong mysterious allure. It is interesting how her look turns to one of knowing contempt when Gustavus dismisses her prophecy as mad or a joke, and then sorrow as she sees how he really does not grasp the danger.
Die Suzuki der Maria Gulik ist Butterflys Dienerin und jüngere Sänger-Konkurrentin in der Nebenhandlung. Der geschickte Einsatz ihrer darstellerischen und stimmlichen Möglichkeiten lassen aufhorchen, gerne würde man die junge Künstlerin in einer größeren Aufgabe erleben.
Sobald Matteo Maria Ferretti als König René im Pelzmantel die Bühne betritt, herrscht er über ebendiese und seine Co-Darsteller:innen. Sein tiefer Bass-Bariton füllt den Saal und die Zerrissenheit des Königs Herzen zwischen dem beschützenden und dem hoffenden Vater liegt ihm eindrucksvoll in der Stimme.
Ihr Vater René, wunderbar hilflos verzweifelt gespielt und gesungen von Bassbariton Matteo Maria Ferretti, isoliert sie mit Macht.
The director Joachim Rathke actually lands a Puccini coup. He presents selected scenes from the well-known picture-book tragedy about the geisha abandoned by the sex tourism colonial rulers in the beautiful costumes of designer Claudia Spielmann as opulent theater on the theater. Others, however, appear ambiguously unvarnished in the twilight of the enviously competing ensemble “family”. [...] She [Agnieszka Hauzer] has the wide breath to let the self-deception aria “Un bel dì vedremo” flow bewitchingly, and the aplomb for panic attacks. In the competing friend Suzuki and the seducer Pinkerton, she has excellent singing partners at her side. Maria Gulik's Russian mezzo glows between reproachful and compassionate; the Russian-Buryat tenor Mergen Sandanov knows parlando and metallic emphasis. [...] With half capacity, but noticeably twice as intense artistic energy, the Kiel Opera started the season - ovations from the premiere audience are the reward. Kieler Nachrichten - Christian Strehk
