Opera på Skäret / Umsagnir

Rigoletto sings most throughout the opera and the duets with Gilda, his daughter are so musically expressive with nice balance and contact between them. (…) Gilda is sung by Hyejin Lee, a young soprano from South Korea, and she impresses with her clear and carrying voice that soars easily into the higher realms. The acting is consistently good even if the plot doesn't really make it clear where she comes from - there is a nun in act 1 so there may be a clue there. She sings her aria in act 1 with great empathy and fine expression. The music is sparse and only gives some support to the soloist, but so convincingly sung by Hyejin Lee.

Solisterna lyfts fram med omdömen som ”sensationellt bra”, ”extatiskt glänsande”, ”självlysande”, ”fantastisk” och ”imponerande”. Svenska Kammarorkestern under ledning av den tyske dirigenten Michael Balke, liksom regi, scenografi och Opera på Skärets kör får också överlag mycket positiv kritik. I rollerna återfinns solister från sex länder, där två sångare alternerar i de bärande rollerna: Thomas Hall (USA) och Lars Möller (Danmark) sjunger Holländaren, Elisabeth Teige (Norge) och Brit-Tone Müllertz (Danmark) sjunger Senta, Jens-Erik Aasbö (Norge) och Roger Krebs (Schweiz) alternerar i rollen som Daland och Magnus Vigilius (Danmark) och Deniz Yilmaz (Turkiet) i rollen som Erik. De svenska sångarna Markus Pettersson och Susanna Sundberg sjunger Styrmannen respektive Mary i alla föreställningar.

The promising Swedish baritone Anton Eriksson is surely a singer in great development and Sweden really has a promising baritone here for future dramatic parts. As Enrico his dark, sonorous bass-baritone had the right authority and strength to back up his acting skills which portrayed an angry, deceitful bully of a man who tries to seize all people around him.