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Stiffelio:
"The strongest features of the Stockholm Royal Opera's new production were undoubtedly the presence of Lena Nordin as Lina and Lars Cleveman as Stiffelio... Nordin... with her excellent technique and distinctive voice, redolent of Maria Callas in its timbre as well in moments of apparent, almost inviting fragility, she certainly equals the talents of her more famous compatriots, delivering a wonderfully intens performance here. The shattered poise she braught to her Act 2 appeal to her dead mother was extremely moving, asher ability to add to the part's complexity by not playing the foolish young wife but the mature mother whose choices have been weighed and considered. Nordin's intelligencen and intensity...."
Opera, October 2011
"Lena Nordin sang sie (Lina in Stiffelio) kraftvoll, den prunkvollen Saal der königlichen Oper mühelos ausfüllend. Sie verfügt über eine klare Intonation und in alle Lagen ansprechende Stimme..."
Opernglas, June 2011
"Stealing the show was Lena Nordin as Lina... her voice retains an expansive quality, and she spins out some fine examples of true Verdian singing."
Operanow, 2011
"In Lena Nordin he has a worthy partner, s intense as Lars Cleveman, but also vulnerable and subservient. In both looks and timbre she has much of Callas - and I can't praise a soprano higher than that. Her aria in Act 1, sung with restrained glow, is masterly."
International Opera, 2011
Macbeth:
"...matched by Lena Nordin on top form. She has been for many years one of the formost dramatic actresses in Stockholm. Her Norma and Tosca in recent years have been all-embracing in a Callas-like mould. She has both the looks and the voice of her great predecessor, though vocally she is much more reliable than Callas ever was."
Musicweb.international, May 2010
Norma:
"...the Nordin Norma outstripped all possible expectation. She grew from a well-moulded but slightly cautious, hollow-toned "Casta Diva" - is there a more difficult entrance in all opera? - to potency and eloquence of expression; she not only sustained the great role but expanded in it, explored its substance, in a way betokened a genuine match of means and matter. The voice, not huge and not perhaps naturally beautiful in timbre, is capable of exquisite colour-shadings, wide dynamic variation over the roll's full range, fine-spun messa di voce. It is allways well protected: its owner here proved that, pace Bonynge, in Norma vocal size matters less than vocal focus, in particular the melding of clear words and clearly-sounded notes into a dramatically-focused and - directed long line... Miss Nordin seems to have absorbed the most important of Callas' lessons: that is line, line , and line. The supreme Callas-moments"...were here so nobly, simply, and above all firmly drawn, with so fresh and truthful a feeling for the emotional weight of every syllable, that the rarest of musico-dramatic tightrope were achieved, 'the proper balance between bel-canto and dramatic tension'....
Opera UK
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Copyright 2009 |
