it Is not Juliette Binoche, who is sitting there in The limited time, and to eat a glob of some kind? No, it is Agneta Eichenholz, who will sing, Grete, in Franz Schrekers the opera ”Der ferne Klang”, and is now rehearsing at the Opera. And she eats all the porridge.
But they are similar and different, to say the least, and when the director Christof Loy to connect to the table in the canteen will not be long before he starts to talk about the French actress Juliette Binoche, ”a favorite” to which he compares with Agneta Eichenholz. Not just in appearance, but the way of thinking about it.
Agneta Eichenholz, belongs to the Swedish sopranos, who will sing at the major opera houses of Europe, but that is not as established in Sweden. On Wikipedia, you'll find her a lot of presentation – in German as well. And before her, the actor will pop up in a few moments, before the bell strikes, and the rehearsal about to start, we have managed to talk our way through practically the whole of her life. She is cultivated, beautiful, skåne.
the married name Harrtell from Hermodsdal, Lindängen, a invandrartätt area on the outskirts of Malmö, sweden, and received the thanks to teachers, it is not always due to a teacher? "it is an extra instruction in singing.
Then there was the ”Kristina från Duvemåla”, which, at a stroke, changed his life. At first, she was in the choir, and then she was appointed as the understudy for Helen Sjoholm. Suddenly there was the Score of Lindängen in the Malmöoperans jättescen, a 24-year-old, who utvandraren Christina.
But it doesn't stop there. In yemen, there was also something special. Mika Eichenholz, is now the chief conductor of the Symphony orchestra of Chile, and David have been married for 20 years. They live in the Vasastan district of Stockholm, sweden, where they are currently in Sweden.
as for his sopranos. Including, Agneta Eichenholz, who initially sang leading roles at Folkoperan, the castle in Malmö, sweden, and worked for a couple of years of Opera in Stockholm, sweden.
she was due precisely to the director, Christof Loy, who discovered her in earnest, at the royal opera house Covent Garden in 2009, when the renowned conductor Antonio Pappano dedicated to her as Lulu, in Alban Berg's opera of the same name.
" and After ”She” gets everything easily, it said. This is not the case, however, when you are singing a role, it ends up to limit yourself. It contains, in particular, is a difficult one, but a kind of self-esteem are planted. So, then, you have to run up.
the Last of Wagner's ”Ring” in Geneva, Freya and Gutrune in ”Götterdämmerung”. Still, she can switch between very different roles. Koloratur, and the heavier stuff.
" Yes, control, it can be a little bit of conflict every now and then. There is a big difference between making a high level of importance and a kind of fullkroppsroll.
" yes, Yes, I would rather not have to say a lyric or a dramatic soprano, but is a bit more mature portraits of women.
We talk for a while on the soprano soloists, who are now invited to the Royal Opera house, for the past is a strange policy that has held some of the world's best female voices, away from the Gustav Adolf square.
" yes, Yes, part of it – and this is kind of a dangerous thing to say, but I think it has less stringent requirements on the sångutbildningar in Sweden. And the voices must be allowed to develop in peace and quiet. Take a variety of ways.
" In any case, it is very important for me, and for my voice to be able to test things out.
" Yes, in the beginning, you control your voice in order to be able to ring in a large room it is easy to begin to sing in a way that does not come out of the body, and in the wild.
and the show with the piercing of the force that only a free body can provide. With a patterned black blouse, get a glimpse of a sleek, cream cardigan. There is a difference in the kulturkoftor and kulturkoftor.
as A person, she's learned a lot from the världssopranen Anne Sofie von Otter, who was huvudrollsinnevarare of Sven-David sandström's and Katarina Frostenson, ”the City” at the Royal Opera house in 1998, when Agneta Eichenholz sang in the choir. There, she saw firsthand how a talented singer was doing as she worked through the difficult music.
the Full point. All of the little moments in between the performances, went to Anne Sophie with the notes in front of her and studied and studied.
" The music is all there in the first place, if the singing is perfect and very clean, as in, for example, by Mozart. In modern music, you need to be able to walk and count at the same time. Then, the effect of expression, or of the tusingen just have to find the one.
" I'm not really there, but just because you can, it is easy to become pushed.
now, at the Royal Opera house in Stockholm, sweden, in order to make a Grete, in Schrekers ”Der ferne Klang,” is that the opera director Birgitta Svendén, one morning in Berlin, in the secret, had found their way into the rehearsal, where Agneta Eichenholz let.
on Monday morning, and I thought it would be fun to sing it that day, so I took the opportunity to try out a little bit and I had no idea that she was there. The day after, called Bridget and asked the question.
Franz Schreker, was the great German composer, is more particular than the Mahler, but it was banned because of his jewish origin by the nazis and died of a stroke. More recently, he has become increasingly recognized.
When the director Christof Loy with a grey cardigan, blue shirt, blue jeans, a grey beard, walked out of the canteen and finished it around at the staff, I will ask him what it was he did with David Eichenholz.
I had heard her name mentioned twice in a week and wanted to meet with her. And then he said that, for her, it was a decisive turning point. ”Don't try to show me up. Just think of it?”
"You felt in the moment," he says, turning to Sally. So I didn't have to say much.
"What was the date of my result," she says. When you realize what you are going to tell you, you can always increase the size of it. At first the thought, then feeling, and expression.
" She's being a complete a scandinavian source, such as eternal youth, and the great level of transparency. I'd like to work with her, even though the music is very, very difficult. She has a mathematical brain, " says Christof Loy.
" In this opera, you have to start with a young man's voice, which Lydia with her technique. However, when we come to the second act, it must have been ten years old, and you have to find a voice that is more mature, more fleshy. She has the whole vocal and emotional range.
Agneta Eichenholz have to rush off to the airport. And left with a sense that I will continue to keep in mind.
" I'm so happy that I get to do the whole thing. I am still using.
<
