David Danholt News
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2015-11-03 00:29:01
[…] This is part of what David DiChiera has called the “Opera In Our Time” series of productions for the Michigan Opera Theatre. Detroit will be only the third city in the United States to mount a production of the work. The description of the work from the MOT website reads like this: In Mieczyslaw Weinberg’s opera — only recently discovered after having been suppressed for over 40 years — a West German diplomat, Walter (David Danholt), and his wife, Liese (Daveda Karanas), are ocean-bound for a new posting in Brazil. Unbeknownst to her husband, Liese once served as an SS officer in Auschwitz. There’s another woman (Adrienn Miksch) on the same cruise ship, a passenger whose mere existence haunts Liese. Guilt and denial, lies and truth, fear and courage, and love —they’re all here in an artistic and emotional experience you’ll never forget. Also featuring Marion Pop (Cyrano) and conducted […]
2013-03-22 20:13:41
[…] It's a testament to the quality of the music that the performance remained so engaging when only one singer, the splendid Emma Carrington, attempted real physical characterisation. Despite the lack of theatrics, Kirstin Sharpin was a revelation in the central role of Ada the fairy queen, even if she took a while to rein in her assertive soprano. At the age of 20, Wagner had not yet mastered writing for the voice, and David Danholt did miracles with the near-unsingable role of Ada's human husband. He did run out of puff a couple of times - a combination of the fiendish writing and the lack of time for preparation, I suspect - but that hardly blemished a valiant contribution. Elisabeth Meister had voice and presence to spare. A little more connection with the text would have made her performance perfect. Smaller contributions from Piotr Lempa and Ben McAteer […]
2013-03-20 19:38:56
[…] forward to the Flying Dutchman and Lohengrin in particular, and even to Die Walküre.Even in early Wagner, the conductor is crucial, and Dominic Wheeler drove the whole thing along with panache. Orchestral and choral standards were occasionally uncertain – Wheeler even did an instant retake of a botched passage in act one – but it did nothing to halt the admirable momentum of a performance that contained some cuts. All the principals did well. David Danholt was a tirelessly eloquent Arindal, Kirstin Sharpin a rewardingly focused Ada – particularly fine in her big act-two scene – and Elisabeth Meister a striking Lora. The dramatic mezzo of Emma Carrington, as Farzana, also caught the ear. A thoroughly rewarding curiosity.• What have you been to see lately? Tell us about it on Twitter using #GdnReview Rating: 3/5Richard WagnerClassical musicMartin Kettleguardian.co.uk © 2013 Guardian News and Media Limited or its affiliated companies. All […]
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