"Olafur Sigurdarson possesses a very strong and expressive voice, boasting a wide vocal range, with a colorful palette..."
- Operawire
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Christian Thielemann, Conductor
David Mcvicar, Stage Director
Christian Thielemann, Conductor
David Mcvicar, Stage Director
Christian Thielemann, Conductor
David Mcvicar, Stage Director
Josep Pons, Conductor
Katharina Wagner, Stage Director
Josep Pons, Conductor
Katharina Wagner, Stage Director
Josep Pons, Conductor
Katharina Wagner, Stage Director
Return to Teatro alla Scala as Alberich Siegfried, return to the Bayreuther Festspiele and Gran Teatre del Liceu as Telramund Lohengrin, to Oper Leipzig as Holländer Der fliegende Holländer and Baron Scarpia Tosca, debut with Deutsche Oper Berlin as Simon Violanta, Ópera Nacional de Chile as Holländer Der fliegende Holländer, return to the Prague National Theatre as title role in Macbeth and Bayreuther Festspiele as Alberich Der Ring des Nibelungen and Kurwenal Tristan und Isolde.
Debut as Captain Bastrode Peter Grimes at the Teatro alla Scala, return to the Bayreuther Festspiele as Alberich Der Ring des Nibelungen, Telramund Lohengrin with Gran Teatre del Liceu, return to Oper Leipzig as Rigoletto, return to the Bayreuther Festspiele as Alberich Der Ring des Nibelungen and Kurwenal Tristan und Isolde, return to Oper Leipzig as Rigoletto, to the Prague National Theatre with Rigoletto and Macbeth, Telramund Lohengrin at Teatro Comunale di Bologna, Klingsor Parsifal with the Bergen Philharmonic Orchestra, Rigoletto and Alberich Götterdämmerung with the Gothenburg Opera, Scarpia Tosca, Der fliegende Holländer at Oper Leipzig, Captain Balstrode Peter Grimes, Wozzeck, Miller Luisa Miller with the English National Opera.
Alberich
Wagner -Rheingold
Alberich
Wagner -Rheingold
Erhebe dich...
Wagner - Lohengrin
Erhebe dich...
Wagner - Lohengrin
Alberich, clearly Wotan’s vagrant-brother, is the astonishing Icelandic baritone Olafur Sigurdarson, here on top form in his exchanges with a tinnie-toting Wotan…
Alberich, clearly Wotan’s vagrant-brother, is the astonishing Icelandic baritone Olafur Sigurdarson, here on top form in his exchanges with a tinnie-toting Wotan…
Thus the most convincing performance was reserved for Olafur Sigurdarson, who is able to let the pain behind all his Alberich's desire for revenge shimmer through grippingly.
...a superlative cast: Olafur Sigurdarson's stentorian, anguished Alberich.
Olafur Sigurdarson garnered the greatest cheers from the audience as Alberich, probably rightly so. His was certainly an outstanding performance, seemingly instinctively alert to the dramatic reality and implications of Wagner's particularly dialectical blend of verse, music, and gesture.
Alberich, clearly Wotan’s vagrant-brother, is the astonishing Icelandic baritone Olafur Sigurdarson, here on top form in his exchanges with a tinnie-toting Wotan…
Olafur Sigurdarson ist darstellerisch und stimmlich eine Idealbesetzung für den Knappen Sancho Panza. Mit großem Spielwitz kommentiert er einerseits die Zweifel an den hehren Träumen seines Herrn, weist aber andererseits das Volk, das sich über Don Quichottes seltsames Wesen lustig macht, beherzt und entschieden in seine Schranken. Mit beweglichem Bariton glänzt Sigurdarson und beherrscht dabei genauso einen leichten Parlando-Ton wie große dramatische Ausbrüche. Ein Höhepunkt des Abends stellt seine Arie im zweiten Akt dar, wenn er sein allgemeines Misstrauen gegenüber Frauen zum Ausdruck bringt. Janelidze verfügt mit seinem Bass über eine markante Tiefe, die sich auch mühelos in baritonale Höhen schwingt. Ihm gelingt es, diesen "Ritter der traurigen Gestalt" in keinem Moment der Lächerlichkeit preiszugeben, auch wenn er den Spott der anderen auf sich zieht.
Ólafur Sigurdarson was a well-rounded Sancho Panza, his robust baritone excellent at the comedy routines but his finest moment came when he vehemently upbraids the crowd for mocking Don Quichotte after Dulcinée’s rejection.
Icelandic baritone, Olafur Sigurdarson, did a brilliant job mining the humour in the score. However, there was a startling and thrilling change in Act IV when he upbraided the crowd for laughing at Don Quichotte. This was powerful, unbridled singing which had an enormous emotional impact. In the final act he showed real affection and tenderness for his dying master.
