TV: Then we were at the obligatory Star Wars opera. In the previous rounds, this was a topic that gave us high points and deep dips.
After the evening’s votes were counted, Kevin Mbugua had to leave the competition.
Dagbladet reviewed the performances song by song.
1. Marius Ruth Christensen: “Women on the Move” by Rigoletto and Giuseppe Verdi
Obviously, the list has to be high from the start. Marius was educated on the subject and has no intention of embarrassing one of Italy’s greatest composers. It’s Giuseppe Verdi on the list and Marius steps into action straight in the back and with a seductive look, which is apt when doing the job. Of course, he has complete control over all wheels and pitches – from the basement to the attic.
It sounds comically easy, but of course it isn’t. It’s just that Marius is a high-level communicator and has a style that most people would probably struggle to catch up with on this broadcast.
2 – Kevin Mbugua: “What a snowy little hand” between La Bohème and Giacomo Puccini
It soon becomes clear that Kevin is not at home here. Struggles with phrases for flow and the text appears very Read out loud. Perhaps that refers to the level of difficulty more than Kevin as a singer? He’s basically a skilled vocalist, but here he’s not in complete control of the beats or the drama.
But, but – he fights bravely through it, and then you’ll see if he holds up this round.
3. Anna Lisa Komoji: Dear Dad, Fra Gianni Schicchi and Giacomo Puccini
Anna-Lisa basically has a big, well-rounded voice, which should come in handy for this challenge. It worked pretty well. Mostly because the emotional aspects of the song come out very well. Anna Lisa sings her heart out on the outside of the dress and makes up for some puckering with trills at the top register.
Technology isn’t everything, although voice control is very important in a genre like this.
4 – Euron Stiansen: “The Secret of Happiness” by Lucrezia Borgia and Gaetano Donizetti
There was talk of breathing here at first. It’d also be a key element in terms of performance here – it’s going to be a rough thing all over. That Jorun hardly has time to breathe between phrases, in turn, is beyond tensing – she can’t put proper weight behind the notes.
Jorun still has to give her what she has in terms of play. Communication is warm and humorous and there is something to take with you as well.
5. Karina Dahl: “I Dreamed I Dwelled in Marble Halls” from The Bohemian Girl by Michael William Balfe
Kareena started the week with a training ban. A rather boring situation when you are about to embark on a task that is very different from what you struggle with on a daily basis. Kareena does her best, but it’s clear that the sound won’t always listen in the face of all the dynamic, tonal twists and turns that this song has to offer.
She has a beautiful, purposeful sound that we hear in pieces, but overall, the crack is too big to go all the way to the finish line.
6. Alexandra Rutan: “Queen of the Night” from The Magic Flute by Wolfgang Amadeus Mozart
You big, Alexandra didn’t take tonight’s challenge lightly. One might think that opera is her main profession. There are some brutal color jumps here that only the most experienced singers would dare. To put it well – Alexandra gets paid for a dare. It hits the highest notes – apparently – flawlessly at all. Plus, it delivers elegant phrases, dynamics, and punches in buckets and buckets. This view looks directly dangerous.
Yes, it’s like you’re almost losing your breath.
7 – Bjorn Tomerin: “O, wie will ich triumphieren” from The Abduction from the Seraillet by Wolfgang Amadeus Mozart
If Alexandra excels at the top register, Bjørn goes to the bottom of the vault as far as you can get. It looks cool and curious at the same time. Mostly because Bjørn is something of a character. He has buckets of personality in what he does and doesn’t go unnoticed.
Is he technically as cool as Marius and Alexandra? Obviously not, but Bjørn has a communicative ability and the hilarity of what he does comes right over your TV screen.
Heidi Rod Ellingen: “Who is Doretta’s Sweet Dream” by La Rondine av Giacomo Puccini
Here everything falls for Heidi. She has a natural presence that makes this number really shine. Her voice conveys the agonizing melodies in such an excellent way that those who listen to her do not go unnoticed.
Opera is often about great feelings and how they are conveyed. I can’t find anything to poke here. Heidi is a pro on her fingertips without losing any of the emotional power. For the end of an eventful evening.
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