Karita Mattila enchante Genève et Wagner !

By Thomas Muller, 11 May 2017

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“Karita Mattila, c’est une expérience sensorielle à vivre”

Reviewed at L'Opéra des Nations, Geneva on 9 May 2017

Karita Mattila, Soprano

Ville Matvejeff, Piano

“Amid the black water": a sensational new work from Aulis Sallinen at the Savonlinna Festival

Dominic Lowe, 8th July

The Castle in the Water, Sallinen's new “chronicle”, is a new work of innovative beauty. Tragic, comic and epic, in seventy-five minutes it tells the history of Olavinlinna and gives a snap-shot of those connected to it.

*****

A radiant recital from Karita Mattila

Dominic Lowe, 6th May

In Wagner and Strauss, the beauty and power of Mattila's voice, still fresh and flexible, left the audience reeling in a recital that was a showcase for technique and artistry.

****1

Houston Symphony vividly brings Peer Gynt to life

Sam Jacobson, 28th March

Blending theater and symphony, the Houston Symphony reimagines Peer Gynt as Grieg intended – complete with dialogue, chorus, and a luminous cameo from Karita Mattila.

****1

Redemption Song: Jenůfa triumph signals a bright future for Hrůsa

Eleanor Knight, 15th January

Corinne Winters is phenomenal as the self-possessed Jenůfa in The Royal Opera's revival of Claus Guth's powerful staging.

*****

An all-star Jenůfa falls short in Prague

Frank Kuznik, 16th September

Superb singing and brilliant work in the pit can't quite rescue Jiří Nekvasil's overambitious production.

****1

Pappano and Loy bring empathy to Elektra at Covent Garden

David Karlin, 12th January

Christof Loy’s thoughtful staging enlightens the character of the protagonists in Sophocles’ tale of matricide; Sir Antonio Pappano extracts great nuance and beauty from Strauss’ score.

****1

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Thomas Muller

Podologue spécialisé en Education Thérapeutique du Patient et Diabétologie, chanteur, administrateur de choeur, fondateur d'orchestre et ancien hautboïste amateur, Thomas est passionné de musique et particulièrement vocale. Toujours sensible aux timbres des orchestres et de la capacité des musiciens de développer un chant musical qui provoque chez l'auditeur une émotion vraie, en dehors de tout intellectualisme.