Ann-Beth Solvang News
Norwegian singer and opera singer
- mezzo-soprano
- Norway
- opera singer
Last update
2024-04-25
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2017-01-12 17:30:01
Mozart: La Clemenza di Tito CD review – Allemano and Aldrich shine in otherwise undistinguished reconstruction
Allemano/Bernsteiner/Aldrich/Solvang/Academia Montis Regalis/De Marchi (CPO)Even by Mozart’s standards, La Clemenza di Tito was composed in haste, commissioned for the celebrations in Prague marking the coronation of Leopold II as king of Bohemia in September 1791. The opera seria libretto was adapted from a well-used text by Metastasio, and the secco recitative might well have been composed by one of Mozart’s pupils, but after his death later the same year, it became one of his most widely performed operas. Among the many stagings was one in Vienna in 1804 for which the court music director Joseph Weigl took it upon himself to insert new material: replacement arias for Tito, as well as a duet for Tito and Sesto. Two of those numbers Weigl composed himself, another was by the Bavarian composer Johann Simon Mayr, while the others remain anonymous.That’s the version of La Clemenza di Tito that has been reconstructed by […]
2015-11-25 01:38:00
Der fliegende Holländer 1841 Theater an der Wien
[…] Youn sings the Holländer with great presence. Youn's Holländer is no big mean brute, but a surprisingly sympathetic personality. When he rejects Senta's sacrifice, the nuances in Youn's voice suggests the heartbreak the Dutchman feels. For a bass baritone, Youn's voice is surprisingly agile, which can be an advantage. Ingela Brimberg sings Senta, Lars Woldt sings a superbly snarky Donald, and Bernhard Richter sings Georg. Manuel Günther sang the Steuermann. Ann-Beth Solvang sang Mary, her chorus of women (the Arnold Schoenberg Choir) shown as choristers, quite appropriately. I don't know who the main dancer is, but he's good, his athletic physicality particularly effective when he and his colleagues are dancing the Holländer's crew. They're athletically physical, more like demons than ghosts, which is a valid perspective. "They don't need to dance with girls" the villagers sing, and sure enough one of the […]
2015-09-27 04:00:00
Man Explained - Wagner's Ring
[…] Karl Ridderbusch, Zoltán Kelemen, Helga Dernesch, Gundula Janowitz, Christa Ludwig, Lili Chookasian, Christa Ludwig, Catarina Ligendza, Liselotte Rebmann, Edda Moser, Anna Reynolds Chor der Deutschen Oper & Berliner Philharmoniker Herbert von Karajan DGG 415 155-2 (1970) - Courtesy of MIMIC Member Cecco Richard Wagner Das Rheingold Falk Struckmann, Jan Buchwald, Ladislav Elgr, Peter Galliard, Wolfgang Koch, Jürgen Sacher, Tigran Martirossian, Alexander Tsymbalyuk, Katja Pieweck, Hellen Kwon, Deborah Humble, Hayoung Lee, Gabriele Rossmanith, Ann-Beth Solvang Philharmoniker Hamburg Simone Young Oehms Classics 260034 869295 (2010) Richard Wagner Die Walküre Stuart Skelton, Mikhail Petrenko, Falk Struckmann, Yvonne Naef, Deborah Polaski, Jeanne Piland, Hellen Kwon, Gabriele Rossmanith, Cristina Damian, Deborah Humble, Miriam Gordon-Stewart, Katja Pieweck, Ann-Beth Solvang, Renate Spingler Philharmoniker Hamburg Simone Young Oehms Classics 260034 869295 (2010) Richard Wagner Siegfried Christian Franz, Peter Galliard, Falk Struckmann, Wolfgang Koch, Diogenes Randes, Deborah Humble, Catherine Foster, Hayoung Lee Philharmoniker Hamburg Simone Young […]
2015-04-27 00:08:00
[…] has an important voice but has trouble in controlling the vocal lines in Bach: the singer was too gruff in the "Quoniam". In Händel he found his best form only in his last aria, where he was accompanied with stunning effect by the trumpet player. I was disappointed by the Norwegian mezzosoprano Ann Beth Solvang, whose gray and low-volume singing wasn´t up to par for such intensely emotional arias as the Agnus Dei of the Mass or "He was despised" in "Messiah". Comparisons are odious, but I kept remembering Marga Höffgen or Janet Baker. All the soloists made their local debut. Maestro Rademann showed knowledge and aplomb, even if he […]
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