Frühere Produktionsrezensionen
13“Rame Lahaj (...) radiates unbridled passion across the water.”
“As Alfredo Germont the Kosovar tenor Rame Lahaj perfectly conveyed the naiveté of a very young man who would fall heedlessly in love with a society woman, oblivious of the extent to which she lives off the generosity and sexual needs of wealthy benefactors. His duet with Alleaume towards the end of the opera, when they are trying to delude themselves into re-imagining a happy future in Paris (“Parigi, o cara“), was striking in the contrast of vocal color between them: Alleaume clearly conveyed the ravages of a mortal disease as Lahaj bloomed in oblivious full health.”
“Mario Cavaradossi è interpretato dal bravissimo Rame Lahaj, dalla splendida voce di tenore lirico, omogenea nell’intera gamma, morbida e rotonda, dal bellissimo colore, assolutamente ben proiettata. Il suo Mario è un giovane appassionato, lirico nell’aria d’entrata “Recondita armonia“, dove l’artista ha modo di esibire un ottimo legato. Nel confronto con Scarpia diviene eroico, pronto a difendere con la vita il fraterno amico Angelotti, mentre nella celebre aria “E lucean le stelle“, il cantante è un Mario assorto nei ricordi dei momenti trascorsi con la sua Floria, il suo canto è a fior di labbra con una meravigliosa mezza voce, che successivamente si dispiega in drammatica disperazione nel toccante finale dell’aria, dove il pittore canta il suo amore per la vita. Il si naturale della difficile frase “La vita mi costasse” e il la diesis tenuto sul celebre “Vittoria!” Sono impressionanti per forza e volume.”
“The music poured out of him eloquently and ardently, his lyricism never tarnished with harsh excess at the louder dynamics. He’s a singer, not a belter. He showed himself an unselfish partner with Zaharia in the duets as well.”
Zaharia and Rame Lahaj as Alfredo made an attractive pair of lovers. With his movie star good looks and warmly colored tenor, Lahaj was convincing as the ardent suitor who cycles through turbulent emotions. His fevered portrayal culminated in a tender duet when he and Zaharia sang ‘Parigi, o cara, noi lasceremo’ in an emotionally wrenching final act.
“Ramë Lahaj, joven, guapo y de aspecto noble, es el perfecto Alfredo. Su hermoso color de voz y su musicalidad nos hace olvidar como a veces queda algo ahogado e incluso un poco fuera de tono en las notas finales. En ocasiones incluso da la sensación de traspasar la cuarta pared convirtiendo sus arias en recitales cantando directamente al público.”
“Déjà remarqué in loco dans Lucia di Lammermoor en 2016, Rame Lahaj possède ce « Giovanile ardore » qui caractérise son personnage. Le ténor kosovar campe un Alfredo bouillant et passionné. La voix a gagné en ampleur, et l’aigu en assurance, comme en témoigne le contre-ut tenu qui conclut sa cabalette. Le timbre est solaire et la ligne de chant se pare quand il faut de subtiles demi-teintes.”
“In his Australian debut, Rame Lahaj cut a dashing figure as Alfredo Germont. Not only is his voice strong enough to carry far into the back of the auditorium, it is also smooth and flexible enough to deliver the nuances of his wildly fluctuating moods. Reaching his high notes with ease and holding firmly on to them, he deftly handled a variety of inflections and finely honed phrasing. Expressive without being melodramatic, neither did he overplay his hand.”
“Hailing from Kosovo, Lahaj is the most exciting Alfredo seen locally since Gianluca Terranova in the inaugural Handa Opera on Sydney Harbour. A terrific actor, Lahaj charts the full emotional journey of Alfredo, from ardent admirer to impassioned lover, through to his brutish anger and subsequent shame and sorrow. Despite his striking looks, Lahaj clearly conveys Alfredo’s shy awkwardness at first meeting Violetta. His countenance changes as a dark storm cloud overtakes Alfredo’s logic, which then melts away with as deep regret takes over […] Possessing a rich, luxurious voice, Lahaj moves easily from middle to upper register with equal strength. If there are fleeting moments when his pitching is not quite accurate, it may well have be due to opening night nerves, which will soon dissipate as the season progresses. Combined with his charismatic presence, and his clear enjoyment of being on stage, the tone and lustre of Lahaj’s voice portent a very exciting future […] The perfect choice for newcomers, long-term operagoers will also enjoy and appreciate this season of La Traviata for the thrilling debuts of Gore and Lahaj.”
“In Tenor Rame Lahaj, der sich mit lockerer Stimme scheinbar mühelos durch das Werk singt, aber auch keine Probleme hat, einmal stimmlich kräftig den wollüstigen Herrscher zu präsentieren, scheint ebenfalls eine ideale Besetzung für den Herzog gefunden zu sein, nicht nur stimmlich, sondern auch optisch.“
“In Tenor Rame Lahaj, der sich mit lockerer Stimme scheinbar mühelos durch das Werk singt, aber auch keine Probleme hat, einmal stimmlich kräftig den wollüstigen Herrscher zu präsentieren, scheint ebenfalls eine ideale Besetzung für den Herzog gefunden zu sein, nicht nur stimmlich, sondern auch optisch.“
Die Inszenierung von Dieter Dorns Traviata war reduziert – sehr reduziert sogar. Aber bei der Wiederaufnahme an der Berliner Staatsoper unter den Linden war man dankbar dafür. Denn der an niederländische Stillleben gemahnende Bühnenaufbau mit den Vanitas-Allegorien des durch Tänzer geformten Totenkopfs hinter einem übergroßen zerbrochenen Spiegel und der stilisierten Sanduhr lenkte nicht vom Wesentlichen ab. Und das waren die Sänger. Allen voran Elsa Dreisig, die frisch aus dem internationalen Opernstudio sogleich auf die Bühne und ins Solistenensemble der Staatsoper geholt worden war, und die zu Saisonbeginn die Gretel in Hänsel und Gretel und sodann direkt die Violetta in Giuseppe Verdis La traviata geben sollte.
