La Fille du Régiment ser du live fra New Yorks Metropolitan Opera på Bergen Kino, Hamar Kino og Trondheim kino lørdag 2. mars klokken 19:00.
On Thursday at the Metropolitan Opera, when “Fille” returned in Laurent Pelly’s production, Mr. Camarena’s breezy performance of the aria, complete with clarion, effortless high C’s, was so thrilling that the audience broke into an ecstatic ovation. So after exchanging glances with the conductor, Enrique Mazzola, Mr. Camarena sang it again: 18 high C’s for the price of nine. – NY Times
In this production, which updates the story to World War I, we see Ms. Yende’s Marie stomping through the camp in army pants and boots, and marching in place alongside the proud soldiers. She sang with gleaming sound, sparkling runs and lots of sass, as well as a gift for physical comedy. Some of the high jinks may have slightly pushed her voice, causing her pitch to slip during some softer passages. Still, this is one of her best Met roles to date. – NY Times
To date, this interpretation is, by far, the soprano’s [Pretty Yende] best moment at the Met and it should be exciting to see what she does in this repertory in years to come -. Operawire
This is the perfect show for everyone. For those unfamiliar with opera, it’s an opportunity to see how much fun it can be. And for the opera-obsessed, it’s impossible to ignore the incredible artists assembled here. With “La Fille du Régiment,” the Met Opera has scored a rare victory in 2018-19. – Operawire
No one should be surprised anymore when Javier Camarena’s name is followed by a string of superlatives. His golden voice and easy top make him an ideal fit for the role of Tonio, the Tyrolean villager who enlists in the French army to win a woman’s heart. At the premiere last week, Camarena reportedly gave an encore of “Pour mon âme” and its nine infamous high Cs. On Monday, his thrilling rendition, bursting with exuberance and nailing every top note with blazing tone, earned another ovation and another encore. At this rate, he may have to prepare to sing the cabaletta twice in every performance of the run. – New York Classical Review
If there were any justice, Pretty Yende woul have been asked for an encore as well, but the title role doesn’t offer any aria short enough to be repeated. Her performance, as Marie, was every bit as spectacular as Camarena’s: in a young career that’s already had a few successes, this may be her greatest achievement yet. It was certainly the most secure she’s sounded at the Met recently, with her focused, verdant sound, pinpoint coloratura, and dizzying trills all in top form. – New York Classical Review