"... stunningly contrasting, Jens Larsen's mighty bass" - Art Berlin
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Jakub Hrůša, Conductor
Barrie Kosky, Stage Director
Jakub Hrůša, Conductor
Barrie Kosky, Stage Director
Jakub Hrůša, Conductor
Barrie Kosky, Stage Director
Jakub Hrůša, Conductor
Barrie Kosky, Stage Director
Jakub Hrůša, Conductor
Barrie Kosky, Stage Director
Jakub Hrůša, Conductor
Barrie Kosky, Stage Director
Sprecher Die Zauberflöte, Doctor and Newspaper Clerk The Nose, Dikoy Katya Kabanova, Pistola Falstaff, Černokněžník in Weinberger’s Švanda Dudák all at Komische Oper Berlin.
Return to Salzburger Festspiele as An old servant Elektra and to the Bayerische Staatsoper as Doctor in Wozzeck, der Einarmige Frau ohne Schatten with Rundfunk-Sinfonieorchester Berlin and Enescu Festival Bucharest, Doctor Wozzeck Opernhaus Zürich and Salzburger Festspiele, Sir Humphrey Davenaut in Marschner’s Der Vampyr Grand Théâtre de Genève, Astradamors Le Grand Macabre for Opernhaus Zürich, Inquisitor The Fiery Angel Bayerische Staatsoper, Deutsche Oper am Rhein Düsseldorf, and Komische Oper Berlin, Schigolch Lulu Ópera Nacional de Chile, Veit Pogner Die Meistersinger von Nürnberg, Sarastro, Baron Ochs, Don Basilio Der König Die Liebe zu drei Orangen, Dreieinigkeitsmoses Aufstieg und Fall der Stadt Mahagonny, Dikoj Kata Kabanova and many other parts for Komische Oper Berlin.
Osmin Die Entführung aus dem Serail, Sarastro Die Zauberflöte, Totenrichter Die Verurteilung des Lukullus, Graf von Gloster Lear, the title part Don Pasquale, Der Förster Das schlaue Füchslein, Kaspar Der Freischütz, Baron Ochs Der Rosenkavalier, Rocco Fidelio, Don Magnifico La Cenerentola, König Heinrich Lohengrin and König Marke Tristan und Isolde, Zuniga Carmen, Priest Moses und Aron, Die Zeit and Antinoos in Monteverdi’s Odysseus.
My Fair Lady
Alfred Doolittle
My Fair Lady
Alfred Doolittle
Jens Larsen confère sa voix imposante et bien projetée à Astradamors.
The sonorous bass Jens Larsen as the King was well-suited to the role,
Jens Larsen did a very good job in the role of Cadmus, with his warm and sonorous bass holding onto a worn-out presentation of the abdicated king of Thebes. Cadmus was seen as a hunched old man, victim of pseudo-religious horrors, cautious and trying to be the voice of reason. Alas, he had not been heard. He sensed what was really coming: his own blood to destroy his royal house (“Could a new young god be my grandson?”) In the end, when Cadmus’ suspicions were finally confirmed, he also gave a very convincing portrayal of a defeated grandfather. In those moments Larsen radiated his full despair and anguish.
