Plamen Kartaloff

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Bizarre Science-Fiction-Wesen und Helikopter-Kämpfer verfolgen Siegmund in gnadenloser Treibjagd. Lackierte Stachelkostüme aus Gummi, Schläuchen, Flügeln und Panzern leuchten plakativ bunt und surreal. Silberweiße Walküren scheinen mit Raketensprengköpfen als Streitwagen über die Bühne zu fliegen und machen mit ihrem Ritt La Fura dels Baus in Valencia Konkurrenz. Die überbordende Fantasie, mit der sich die Nationaloper in Sofia nach einem neugierig machenden »Rheingold« im Vorjahr (OG 7-8/2010) nun an die Fortführung des eigenen »Ring«-Projektes mit der »Walküre« wagt, ist in ihrer unbelasteten Unschuld und ambitionierten Freude entwaffnend, mitreißend und einfallsreich.

Plamen Kartaloff, während seiner Direktion intensiv darum bemüht, den gängigen Spielplan in der bulgarischen Hauptstadt auszubauen mit großer italienischer Oper und mit der in Bulgarien fast unbekannten deutschen Romantik, projiziert Wagners Sagenstoff in eine ewig gültige Zeitlosigkeit zwischen mystischer Weltparabel und schriller Fantasy-Action der Anime- und Manga-Ästhetik. Dabei geht ihm der Bühnenbildner und Kostümdesigner Nikolay Panayotov kongenial zur Hand und fährt alles auf, was Ausstattung und Technik des Hauses zu stemmen vermögen. Zwischen die markanten Bühnenelemente des »Rheingolds« – die riesigen Walhall-Macht-Kegel und die hier nun geteilte, mit einer Hälfte hoch gekippte Ringspielfläche – hat Kartaloff eine erhöhte Zeitschiene gesetzt, eine Straße der Rückblenden und Entscheidungen, auf der die erzählenden Leitmotive in rot schummrigem Licht von Statisten nachgestellt werden. Das ist oft effektvoll, für „Newcomer“ hilfreich, manchmal vom eigentlichen Geschehen ablenkend und gelegentlich unfreiwillig persiflierend, wenn die vorbeifahrende Szenerie in ihrer Theatralik an das Ambiente von Abenteuerbahnen in Vergnügungsparks erinnert.

Nachholbedarf besteht hingegen in der Inszenierung der psychologischen Verstrickungen, im Aufbau von knisternden zwischenmenschlichen Spannungen. So fungieren im Machtkampf der Ehekrisen die scharf anklagende Fricka der Rumyana Petrova und der Hunding des sonor deklamierenden Angel Hristov lediglich als dekorative Stichwortgeber. Und vor allem das Wälsungenblut verharrt in allzu bravem Edelmut, mag einfach nicht in Wallungen kommen, obwohl das Sofioter Geschwisterpaar attraktives Heldenpotenzial besitzt und stimmlich prägnante Charakterkonturen vermittelt. Das Timbre des jungen Martin Iliev klingt kraftvoll nach Verismo-Bariton und fährt dennoch mühe- und bruchlos in eine frei schwingende Tenorhöhe. Ein dynamisch flexibel abgestuftes Parlando prägt die Artikulation, Siegmunds Wälse- und Nothung-Rufe strömen erdig und bodenständig. Mit mädchenhafter Frische und kerniger Wärme zeichnet Tsvetana Bandalovska eine mutig aktive Sieglinde. In der tiefen Lage der „Männer Sippe“ bleibt ihre Stimme zu klein, den Albtraum jedoch gestaltet sie dicht attackierend, das „hehrste Wunder“ legt sich mit leuchtender Seele über die Orchesterwogen. Diesem Zwillingspaar hätte der Mut zu mehr Körperlichkeit und ekstatischem Gefühlsüberschwang sicherlich gut gestanden, und der Gesamtspannung der Produktion hätte dies ebenfalls gut getan.

Mariana Zvetkova singt eine höhen wie tiefensichere und stets weich intonierende Brünnhilde, doch erst wenn sie im 3. Akt Pferd Grane, einen horizontal gesenkten Kegel von Walhalls Zinnen, verlassen darf, läuft sie zu persönlichkeitsstarker Hochform auf, zeichnet ein immer farbiger werdendes Charakterporträt mit natürlich schlichter Körpersprache und stimmlicher Differenzierung. Auf fast leerer Bühne umkreisen sich im Vater-Tochter-Dialog zwei Gottheiten, deren Kontakte zur Menschenwelt sowohl großartige Visionen freisetzen als auch die Tore öffnen zu eigener Verwundbarkeit – hier hat sich die Regie getraut, einfache Bilder tiefster Seelendramen mit anrührenden Emotionen zu füllen. Und als Wotan hat Nikolay Petrov nicht erst im Schlussbild seinen ganz großen Auftritt: ein Charakterschädel mit untrüglich sicherem Bühneninstinkt, ein charismatisches Unikat mit schlankem McIntyre-Timbre und ein Urgestein mit konditionsstarkem Feingefühl für Größenwahn, Trauer und Tragik – zu Recht belohnt mit dem stärksten Applaus des Abends.

Unter der konzentrierten Leitung von Pavel Baleff wird das Orchester zu engagiert durchdachtem Spiel inspiriert und ist bereit, bis an die Grenzen des technisch Machbaren zu gehen. Die klare, angenehme Akustik des Hauses unterstützt vor allem die fulminanten Tableaus, die in repräsentativer Großartigkeit zelebriert werden, doch auch in intimeren Kammerspielszenen weben sich schöne Instrumentalsoli umeinander, die die Spannung halten. Auffallend im Zusammenspiel ist das tragend reagierende Atmen mit dem ausschließlich aus Bulgarien stammenden Sängerensemble, das sich mit Sprach- und Phrasierungs­coach Richard Trimborn mit dem sperrigen Deutsch des Librettos erfolgreich auseinander gesetzt hat. Bereits jetzt läuft das Deutschtraining für den »Siegfried«, und das Team um Plamen Kartaloff fiebert dem Jahr 2012 entgegen, wenn die Nationaloper in Sofia den »Ring« weiterschmiedet.

Brigitte Kempen

Das Opernglas, 6/Juni 2011

Interview.

We managed to gain the trust of the audience in Japan and of the Japanart Agency, said the director of “Un ballo in maschera” and “Turandot”, prepared for the upcoming tour

Compelling operatic passions took place on the biggest stage in the Balkans, Hall 1 of the National Palace of Culture (NDK), with the premiere of the opera “Un ballo in maschera” by Verdi. Thousands in the audience applauded enthusiastically both shows that opened the season of the National Opera and Ballet. With this title and “Turandot” by Puccini, it will be a guest for the fourth time in Japan in 2008. It is not easy to prepare a new show in the time of repair, but thanks to the efforts of the entire ensemble and the partnership of the NDK the premiere pleased the audience of the capital with the new reading of the familiar title. The performance revealed the creative potential of the theatre, ignited by the original directorial reading of Plamen Kartaloff in tandem with the popular Croatian artist-designer Ivo Knezovich and the costume artist Elena Ivanova under the baton of Borislav Ivanov and Boris Spassov.

Significantly, international critics assess the work of director Plamen Kartaloff as innovative, brilliant, fantastic and searching. More than three decades, he sought for and created his idea of opera theatre at home and abroad. In recent years he is a sought-after name not only on the Balkan stages, but also in Europe.

 Modern opera practice often offers scandalous author readings of familiar titles. What is your creative position, how do you look for your dialogue with our time?
- In opera, it is the human voice that attracts the audience; it goes to the opera mostly for singers. However interesting a director’s concept may be, without good singers it will not be understood. As a young director I began with the idea of the total theatre, doing plays that required from the singers artistic acrobatics, I wanted the audiences to see the theatre in the opera. Over time, I get convinced that however great a concept may be, however the conductor fascinates the people on the stage, without good singers, nothing can happen. Of course, I love working with singers who can sing in the way one speaks, with singers-actors.

For me, a modern interpretation of directing or conducting is only a part of the opera performance in which singers are the main instrument. We must not forget that opera is a collective art. This outrageous slant of some productions will not grow in my opinion on Bulgarian soil. The taste of our audience is different. So when I go to a more radical reading I try to find a balance between the new and that which was born by the authors. The text is extremely important. The text should sound to full effect from the mouth of the singer, and the music is the one that gives wings to the artist. The director brings to life the work. The director should inspire everyone in common action to make them play. Although the singers often enchant the audience and mise en scènes that were difficult to create go unnoticed. But it’s teamwork. The singer is the instrument, the director – a translator of the author’s concept, giving the interpretation as a pilot, who will lift its audience into the heights of pleasure.

- In your productions the choir plays an important role, it is an engine for the action. How do you manage to engage singers in this game?
- For me every chorister is important because they personify the idea in the score. When I work, my pleasure is to reach into the souls of the singers by giving them tasks. You have to light them up, to make sure they know what they are singing, how to play “their part”. I have productions such as “L’elisir d’amore” by Donizetti in which musicians hang in the air four meters above the stage. This was not a problem in my production on the stage in Belgrade. Risk there always is, but when everything is taken care of – there is practically none. Although the facilities in Belgrade are not better than those in Sofia. This play was awarded the prize of the National Theatre in Belgrade for Best Director in 2003/2004.

- You are well acquainted with the opera theatres in the Balkans. What is needed for the Sofia Opera to be again a leading opera centre in the Balkans, focal point for co-productions for the development of cultural corridors here and towards Europe?
- The Sofia Opera Theatre is a global name in the operatic universe. Not only because our great singers have come out precisely from this theatre. In this theatre there is great energy and creativity, fuelled by talent that can do wonders. Right now the opera will go for the fourth time in Japan with “Un ballo in maschera” and “Turandot”. These are the titles wanted by “Japanart” – the agency that represents Metropolitan Mariinsky Theatre and the Sofia Opera. We managed to win the trust of the Japanese public and that of the agency.

- What is the difference in your reading of “Un ballo in maschera” from the well-known world models that rely more on the excellent singers?
- That the staging of “Un ballo in maschera” has been prepared for the Japanese audience is as important as for the Bulgarian. I know the taste of Japanese, they like more traditional productions. I am interested in the Bulgarian public. I suggest a new reading because I want viewers to consider the idea helped by a director’s approach based on historical facts and on what Verdi was forced to do so that his opera could see the light. I build my concept on the political assassination of King Gustav III of Sweden (1746-1792) and the love drama in the love triangle – Riccardo, Amelia, Renato, founded on analysis of the triad – the historical facts about the reign of King Gustav III, the first theatrical text for his murder (E. Scribe) and the opera libretto of Somma, connected with the music of Verdi.

The production directed by Plamen Kartaloff soared the popular title in the heights of the Theatre of big ideas. His reading is looking for dialogue with our time, drawing upon the hidden power of the historical facts related to Gustav III, King of Sweden. His political assassination is, in the concept of Kartaloff, the challenge to contemporary social significance.
Contrastive images on the stage, dynamically changing as in a film, suggest the fateful doom of the drama of love triangle Riccardo, Amelia, Renato. It plays out against the forthcoming political assassination. A criminal story occurring in no man’s land. A plot of any time. The staging team relies on symbolism in parabolic musical drama.

As early as in the overture Kartaloff plays out the story in the ballet scene. A model of an opera theatre in a pyramid in the very beginning and the stage of a theatre with columns in the form of Sphinx at the murder frame the drama. Under the pyramid, towering in space, the theatre of the dark forces in society is played out, with Ulrike the sibyl and the conspirators. Kartaloff utilizes efficiently the stage space with rich setting in several plans. Besides the main characters, the chorus joined with many acting assignments, it is the narrator of events. Impressive is the second scene in the retreat of Ulrike the fortune-teller, and the ball of the last act, with the chorus dancing and singing, dressed in blood red robes.

This was an ensemble show with two different facets in respect of vocal, stage and musical construction. The first solo cast – Emil Ivanov (Riccardo), Gabriela Georgieva (Amelia), Alexander Krunev (Renato), Elena Stoyanova (Oscar), Elena Chavdarova-Isa (Ulrike) and others, adopted the staging concept with the familiar vocal and artistic style of the singers. Emil Ivanov reinforced more the dramatic nature of his character, while Gabriela Georgieva is still experiencing difficulties in vocal evocation of the rich states of mind of Amelia. Elena Stoyanova played very well her Oscar. Alexander Krunev and Elena Chavdarova-Isa focused on the vocal image of their characters. Maestro Borislav Ivanov sought to control the difficult to achieve balance between stage and orchestra in the challenging acoustic conditions of NDK’s Hall 1 (ensuring the sound over microphones is always problematic, something that we felt particularly strongly in the first scene). The whole ensemble and technical services coped well with the dynamically changing scenes, without break, on a curtain of light.

This production demonstrated the ability of the Sofia Opera to make ensemble theatre. The other cast – Kamen Chanev (Riccardo) Radostina Nikolaeva (Amelia), Kiril Manolov (Renato), Diana Vassileva (Oscar), Rumyana Petrova (Ulrike) and others, created a different nature of the production under the baton of Boris Spassov, with a dominant vocal beauty and unaffected acting. The production of “Un ballo in maschera” aroused contemplation about our time, convinced us in the force and capabilities of our prime opera house.

http://old.duma.bg/2007/1007/231007/obshtestvo/ob-4.html

An interview by Magdalena Manolova

Duma Daily, Sofia, 23.10. 2007

Whether we can define the 2007-2008 season as symptomatic in the renovation of the National Opera, is too early to say, but the beginning is definitely promising. For the season opening the opera has chosen a title from the rich repertoire of Verdi – “Un ballo in maschera”, which could be situated in any era. If we consider the main part of the staging team directed by Plamen Kartaloff – Croatian decor artist Ivo Knezovich and costumes designer Elena Ivanova, we can anticipate the intention of modernity. Conductors are Borislav Ivanov and Boris Spasov, choreographer Peter Lukanov, artistic lighting is entrusted to Andrei Hodzhinyak.

“Un ballo in maschera” is one of two titles with which the Theatre will visit Japan, where it has been preferred to the Metropolitan and the Mariinsky Theatre.

One of the challenges facing Plamen Kartaloff, master of the “theatre on the square”, is the place where his performance will be staged – Hall 1 of the National Palace of Culture (NDK).

Verdi’s masterpiece makes us witness the whirlwind passions and dramatic events in the lives of the main characters in a love triangle Ricardo – Amelia – Renato, amid a long and carefully prepared for political assassination. Historical facts pertaining to the life and person of King Gustav III of Sweden (1746-1792), prototype of the opera hero Ricardo, caused the creation of the original staging version. In the history of music two settings are known: Swedish and Boston.

In the former the hero is named Gustav III – a great patron of the arts; in the latter changes were forced in the libretto (due to the Italian censorship) of names and place of events – the move from Europe to America was caused by the inevitable painful comparisons with the fate of the King of Naples.

“Our team did not fix the specifics of place and time of action, and therefore the interpretation of the plot intrigue – good vs. evil – is achieved by means of potent symbolism – explains his vision Kartaloff. – The names of the characters and their nature, influenced by the strong impact of the music, may be as well Swedish as American, Italian or whatever; they can be transferred everywhere and in every time. The imposed specific limits on the period and style are narrow.”

“I find the version particularly appropriate and I am glad that Kartaloff chose me for the role of Ricardo, said the tenor Emil Ivanov, who specially arrived from Austria. – This is a staging that is difficult to break even outside Bulgaria. The ideas of the director are interesting and meaningful, with normal human relations.”

For Kamen Chanev (we’ll see him on Tuesday night on the stage) the role of Count Ricardo is a debut. Immediately after the premiere in Sofia, however (on October 13) he will enter a role for the second time, this time in the Graz Opera House.

Elena Ivanova works for the first time on “Un ballo in maschera”. (With Kartaloff they have already worked in tandem a few years ago – in “Rigoletto”). “The power of mass suit is very high when 30 people stand on stage. This is the most interesting in the opera for me. The suits act as decor, even more. They bring energy, such as colour, tone, and atmosphere. When an art is poor, it is subject to the money, not the concept, intelligence, talent. The opera you are viewing has been made for no money; it is made on tick, all of it. What art henceforth to speak of?”

The young designer Ivo Knezovich is a hot name lately. His advanced solutions and vision break outdated perceptions of operatic stage design. They make him controversial, but also sought-after. This is the third production, after “Cavalleria rusticana” and “Pagliacci”, at the Zagreb Opera, for which he works in team with our famous director.

The second performance is on September 25, in Hall 1 of the National Palace of Culture.

http://www.dnevnik.bg/razvlechenie/2007/09/24/379795_bal_s_maski_otkriva_operniia_sezon/

by Avgusta Manoleva

Dnevnik Daily, Sofia, 24.09.2007

The Sofia Opera on Its Way to Japan.

The Bulgarian Opera Myth.

With the new staging of Verdi’s “Rigoletto”, the latest premiere of the National Opera and Ballet for the season that took place on February 18, the theatre will go to Japan. The Japanese audience is already familiar with the art of our first opera theatre from the two guest-performances in 2000 and 2002. Delight and recognition evoked the two titles – a trial even for the best – Puccini’s “Turandot” and Ponchielli’s “La Gioconda”. Ghena Dimitrova, one of the most famous Turandots and Giocondas of the last century, added a special luster to the splendid production of the director Plamen Kartaloff. The ensemble showed a high class that had to compete with the Scala di Milano (on tour before the Bulgarians). In only 2 years the Sofia Opera confirmed the friendship with the Japanese audience with “Don Carlos” and “La bohème” with a star cast again – Anna Tomowa-Sintow, Nikola Ghiuzelev, Tsvetelina Vassileva, etc.

Japanarts Agency this time chose Verdi’s “Otello” and “Rigoletto”. These two masterpieces of the Italian Maestro will enrich the idea of our opera art in the land of the rising sun.

The premiere of “Rigoletto” was under the patronage of H.E. Mr. Koichiro Fukui, Ambassador Extraordinary and Plenipotentiary of Japan to Bulgaria. His Excellency said that he knew Sofia Opera from their visit to Japan. He has not only delighted with the staging, he said the Japanese opera lover eagerly expected the new meeting with the Bulgarian theatre. This year the National Opera will be provided with acoustic equipment under the program of the Japanese government for grants to prestigious institutions in Bulgaria.

One of Verdi’s most loved operas returned to the Sofia stage, created by the artistic imagination of the director Plamen Kartaloff, the scenographer Lyubomir Yordanov, the costume designer Elena Ivanova, under the baton of the conductor-producer Borislav Ivanov. The soloist cast puts on stage recognized names from different generations – Rumen Doikov, Alexandar Krunev, Ana Ivanova, Svetozar Rangelov, Dimitar Stanchev, Elena Chavdarova-Isa, etc.

What is the new reading of “Rigoletto” – the work that since its premiere in 1851 in La Fenice Theatre in Venice has been triumphing all over the world? Verdi was convinced that he would never write anything better. Indeed the arias and the melodies are hits even today. They say he wrote it all in one breath, in only 40 days. Maybe because the drama of Victor Hugo “Le roi s’amuse” (“The King’s Fool”) provoked the dramatic nature of the maestro. It is an answer to the spirit of that time of revolutionary changes in society and human relations. Rigoletto is a collective image of the time. The maestro of the Italian Revolution (as they call Verdi) puts on stage a new character – the ordinary man and his drama. The strong collision of feelings and passions of people from different social strata, of the privileged and of the unprotected ordinary people, gives birth to this musical drama. Maybe this is why “Rigoletto” enters in dialogue with any time.

The director Kartaloff remains true to Verdi but is looking for his own answer to our present day. He stakes on baring the heroes’ characters, he plunges them in an ocean of passion, expressively brings together human dramas in order to alienate them at the finale. Together with the scenographer and the costume designer he puts the viewer in the epoch of the Renaissance but with clear references to the present. The man liberated from the medieval dogmas is obsessed by the passion to live, make love, have fun with no inhibitions. The human emotions and feelings are on show unlike in the Middle Ages.

The curtain lifts on the dances of half-naked nymphs. The contrast between the wild bacchanalia, the dissipated scenes and the drama of the fool and his daughter Gilda build the dynamics of the show. Renaissance columns, a vision of the Louvre, determine the stage space, which the side movable platforms quickly transform from a palace into a home, into a street. Fast changing episodes from different viewpoints “look at” the action with the dynamism of a movie. This play with the space creates a rhythm close to the contemporary people. Yet in the overture we heard and saw the curse of Rigoletto. A huge shadow of the humpbacked fool on the interlude curtain opened the show and closed the curtain at the finale. Rigoletto who plots, sows the infection of lechery, falls victim of his own deeds. He is the chief motor of the action. To amuse himself – this is the meaning of life for the corrupt Duke. Gilda was isolated from the normal world. She means everything to her father, the fool of Mantova. The love for the Duke is fatal for the innocent girl. And her father’s thirst for revenge turns her into a victim. A tragedy close to our time, filled with the cruelty of criminals and assassins, of kidnappings and suffering of innocent people. Orgy and crime, apparent comedy and tragedy, love and revenge get together on the passerelle that every character strides toward his destiny.

The soloists, liberated from the known stereotype, also strove to create the dialogue with our time. Rumen Doikov, who has entered the part of the Duke almost 200 times, as though wanted to play himself, to escape from the cliché. In this escape he sometimes overacted. To play and sing the drama of the fool with the different faces is extremely hard as you have to express it through your voice, too. Alexander Krunev interpreted the dramatic character according to his own vocality and attitude. Ana Ivanova was the romantic Gilda. At the second premiere the young Tsvetelina Maldzhanska disclosed the possibilities of a real vocal and scenic Gilda. The two bassos – the young Svetozar Rangelov (Sparafucile) and the recognized Dimitar Stanchev (Count Monterone) were very convincing in their parts. Maestro Borislav Ivanov skilfully led the musical-scenic dialogue creating with the orchestra the dynamics of the contrast dramaturgy. The whole ensemble of the Sofia Opera and Ballet stepped out of the cliché of static behaviour and achieved the sought dialogue with the modern viewer.

http://www.diplomatic-bg.com/c2/content/view/557/47/

by Magdalena Manolova

Bulgarian Diplomatic Review magazine, Sofia, 3/2005

The spectacular production is in the spirit of the best known world examples. If only there were enough good singers

Our opera is not well in recent years. The change of the director divided the comments of music fans in two directions. Optimists shyly expressed hope that now things can take off, but pessimists bitterly cried over the wretched plight of this national theatre.

The first premiere of the season with Borislav Ivanov as director was “Othello”. The production did not provoke the expected interest, although it was at a decent level. The second, however, compensates.

The great interest in “Rigoletto” was mainly provoked by the return of this stage of Plamen Kartaloff, by the lavish costumes and scenery, and last but not least – by the appearance of the Opera’s director Borislav Ivanov as conductor-producer.
In fact Ivanov does deliver. And the costumes by Elena Ivanova are wonderful. One could swear that they are from the Renaissance, not sewn in the XXI century. By way of the costumes the artist has typified the individual personalities. The Duke is like a rooster among hens: bright, colourful, exuberant. Gilda is closed in shades of gray, and Rigoletto is an old, sad clown.
Most impressive is the scenography. Renowned graphic artist Lyubomir Yordanov has created something remarkable. Individual elements with columns are transformed in seconds before the viewer, creating the illusion of various royal halls.

Plamen Kartaloff shows “Rigoletto” in a different light – not with the masks, described by Verdi, but by human faces, whose make-up makes them stylized symbols of the two types of social levels: the richest, most privileged and untouchable, and the unprotected, ordinary people.
The weak spot of the show is in the unequal abilities of the singers. There are brilliant – like Rumen Doykov, Alexander Krunev, Anna Ivanova Todorova, Dimitar Stanchev, Elena Chavdarova-Isa, Svetozar Rangelov, Tsvetan Tsvetkov, the young ones Gergana Yancheva and Tsvetelina Maldzhanska. But there are those that plague the poor music lover with their efforts.
The lack of enough good singers in our country is totally a problem that affects not only the Sofia Opera. Most of our quality artists flee abroad, there remain few. In this case, the holes are filled by singers with diploma and medium qualities. Which unfortunately lowers the level even of the best product.

The set and costumes of “Rigoletto” are impressive. Such has not been seen for a long time in the Sofia Opera.

Thursday, 24.2.2005

http://www.segabg.com/online/new/articlenew.asp?issueid=378§ionid=6&id=00001

“Rigoletto” Brought the Opera Back From the Other World

The spectacular production is in the spirit of the best known world examples. If only there were enough good singers

DESI TODOROVA

Our opera is not well in recent years. The change of the director divided the comments of music fans in two directions. Optimists shyly expressed hope that now things can take off, but pessimists bitterly cried over the wretched plight of this national theatre.

The first premiere of the season with Borislav Ivanov as director was “Othello”. The production did not provoke the expected interest, although it was at a decent level. The second, however, compensates.

The great interest in “Rigoletto” was mainly provoked by the return of this stage of Plamen Kartaloff, by the lavish costumes and scenery, and last but not least – by the appearance of the Opera’s director Borislav Ivanov as conductor-producer.
In fact Ivanov does deliver. And the costumes by Elena Ivanova are wonderful. One could swear that they are from the Renaissance, not sewn in the XXI century. By way of the costumes the artist has typified the individual personalities. The Duke is like a rooster among hens: bright, colourful, exuberant. Gilda is closed in shades of gray, and Rigoletto is an old, sad clown.
Most impressive is the scenography. Renowned graphic artist Lyubomir Yordanov has created something remarkable. Individual elements with columns are transformed in seconds before the viewer, creating the illusion of various royal halls.

Plamen Kartaloff shows “Rigoletto” in a different light – not with the masks, described by Verdi, but by human faces, whose make-up makes them stylized symbols of the two types of social levels: the richest, most privileged and untouchable, and the unprotected, ordinary people.
The weak spot of the show is in the unequal abilities of the singers. There are brilliant – like Rumen Doykov, Alexander Krunev, Anna Ivanova Todorova, Dimitar Stanchev, Elena Chavdarova-Isa, Svetozar Rangelov, Tsvetan Tsvetkov, the young ones Gergana Yancheva and Tsvetelina Maldzhanska. But there are those that plague the poor music lover with their efforts.
The lack of enough good singers in our country is totally a problem that affects not only the Sofia Opera. Most of our quality artists flee abroad, there remain few. In this case, the holes are filled by singers with diploma and medium qualities. Which unfortunately lowers the level even of the best product.

The set and costumes of “Rigoletto” are impressive. Such has not been seen for a long time in the Sofia Opera.

http://www.segabg.com/online/new/articlenew.asp?issueid=378§ionid=6&id=00001

DESI TODOROVA

Thursday, 24.2.2005

Liveliness, colours and unconventional directorial decisions – that is the impression that the viewer left with after the new premiere of the Sofia Opera, “Rigoletto” by Verdi with producer Plamen Kartaloff. The audience already saw the preview and the premiere performance, the next one is on 22 February.

And since this title appeared also at the New Year Music Festival, Sofia citizens will inevitably make comparisons between the two directorial approaches – that of Emil Boshnakov and the present one, of Plamen Kartaloff. We saw no surprise at the first staging – commonplace tradition, familiar from dozens of performances and filmed productions (probably in the manner of its creation by Verdi himself back in 1851).
Naturally this was not the case with the singing cast – Kaludi Kaludov, Alexander Krunev …
Against this background, the tandem Kartalov – Lyubomir Yordanov offers us something contemporary and more modern as perspective. Their creative union is not accidental. Both have a twist to liberty and experiment. The designer, apparently already somewhat forgotten in Bulgaria, has a determinedly modernistic approach in his theatrical activities. He works mainly in France – installations and experimental opera productions in unnatural places. The span of Plamen Kartaloff is known from long ago.

“Rigoletto” is a production with a clear concept – in directing, scenography, performance. The basic principle of staging is: escape from banal opera cardboard scenery. Suggestions are achieved through the details, the cinematic approach, elements of the theatre of shadows, changes in lighting …
Kartaloff manages to play out the singers, highlights their acting skills as well. The mise-en-scène is difficult – singing comes from any position, they even dance on moving platforms, while keeping their balance.

Three teams are ready to sing. Different productions will see: Alexander Krunev, Rumen Doykov – with his 182nd performance in the role of The Duke, Dimitar Stanchev, Elena Stoyanova, Elena Chavdarova-Isa, Zhivko Pranchev, Svetozar Rangelov, Stoil Georgiev, Stoyan Balabanov, Tsvetan Tsvetkov. As young singers: Tsvetelina Maldzhanska and Gergana Yancheva, Angel Hristov and Rosen Rumenov. On the conductor’s podium stands the Opera’s dirictor Borislav Ivanov.

http://www.monitor.bg/article?id=30259

by Avgusta Manoleva
19.02.2005

The new premiere of the National Opera, commissioned and supported morally and materially by the Japanese state, “Rigoletto” by Giuseppe Verdi (libretto by Francesco Maria Piave, based on Victor Hugo’s drama “Le roi s’amuse”) was entrusted to the already famous far beyond our borders opera director Plamen Kartaloff. And although he was pressed for time, because he was working simultaneously on two other plays – “Lucia di Lammermoor” in Novi Sad and “Les contes d’Hoffmann” in Maribor (Slovenia), his famous capacity for organization and a clear conception of the play allowed him to put his requirements and tasks to the performers and the production team of the National Opera, where he was greeted with applause.

Work on the visualization of the stage action began in the midst of radically different stage setting, where the scale of production is related to a chamber-style detailed fragmentary approach aimed at revealing all the ideological and philosophical premises, slumbering in the drama of Hugo and Verdi’s score. The result appears as a new product, new “phenomenon”, a new reading of Verdi’s immortal work of genius. The production has achieved unity of the stage environment (artist Lyubomir Yordanov), and the dramatic play, dressed in music, leading to one cohesive alloy of impact over the audience. In the performance the action is almost cinematic in its development and dynamics following the implementation of the vision of the director, the conductor (Borislav Ivanov) and the scenographer and costumes artist (Elena Ivanova). The impression is – full-sounding and effective performance, realised according to the modern style of the opera genre.

Alexander Krunev’s Rigoletto is a remarkable achievement for this baritone who recently demonstrated real skill in terms of vocal development. All this, backed by very successful detailed experiencing of the stage presence, allowed him to carve the image of a jester – Rigoletto, and his cruel fate for which he himself is guilty as he does not respond to Gilda’s pleas for forgiveness.
Midst of a series of “buffoon-like” images of the courtiers, the voluptuous Duke and the cursing Monterone, the character of Gilda is the bright counterpoint, the bustling purity of thoughts and actions which, as a result of love, lead her to self-sacrifice. Anna-Maria Ivanova managed very well with the challenges of the vocal and stage performance. Her crystal heights, especially in the aria of the second act, subdued the audience.

The multidimensional character of the libertine Duke was presented by Rumen Doykov with emotional zeal and vocally refined part with memorable moments (“La donna è mobile”). Rumen Doykov’s mature mastery allows him to sculpt his overall vocal-stage presence in a dynamically nuanced behaviour. Svetozar Rangelov as Sparafucile is active and expressive. His sonorous bass is a wealth for every operatic cast. The rest – Dimitar Stanchev (Monterone), Stefka Mineva (Giovanna), Stoil Georgiev (Ceprano), Elena Chavdarova’s Maddalena are in full harmony with the requirements and fit perfectly into the dramatic action.

The National Opera Orchestra under the baton of Borislav Ivanov is a magnificent commentator on the drama and has remarkable performances. The solos of the woodwinds (oboe, flute, clarinet) and the rest of the group deserve special mention. There is the sumptuous and solid sound of the string section where the first violins were almost “crying” so heartbreakingly that we had the feeling that they were matching the vocal expressiveness of the solo cast. The dramatic force and expression of the brasses, the remarkable effectiveness of the basses, and the cello solo in the monologue of Rigoletto – these are the brilliant achievements of the orchestra. The male choir (conductor Hristo Kazandzhiev) achieved marked success with its expressive fine sound – rich in timbres and with compelling stage presence.

By Bozhidar Gatev

Duma Daily, Sofia, 09.03.2005

http://old.duma.bg/2005/0305/090305/kultura/cul-4.html

For more than forty years, this opera has not come down (with small time gaps between a revival, or a new staging!) from the poster of the opera theatre. By 1974, according to the regulation for a 50-year period (Puccini died in 1924) copyright was still paid for any of its performance. At that time, the tale of the cruel Princess Turandot did not make me excited, that is, until I happened to see in Moscow a remarkable production of Evgeni Vahtangov of the eponymous play by Carlo Gozzi (in the Vahtangov Theatre with the exceptional Anastasia Vertinskaya in the title role), and Turandot did fascinate me. Thus, in fact from the dramatic theatre, I started to discover the opera by Puccini. And gradually I came by new and new details, understood the wisdom and depth of the plot, and of Puccini’s last work.

It is an undeniable fact that Turandot is an unusual and innovative work of art. However, reading the score, we find also a deep connection with the great Italian tradition of Rossini and Verdi. A synthesis of non-traditional and traditional characterises the role of the princess – a great soprano role, amazingly difficult and amazingly small in duration! Original are the dramatic structure and the import of characters in masks Ping, Pang and Pong (naturally – from the old Italian theatre), and the episodes functioning as interludes and distancing the viewer from the main action. And the most important achievement in the work is the great composer’s balance between chamber scale and monumentality. Because the participation of the chorus here is in the style of Mussorgsky – the human crowd, the people of Beijing, sympathises, suffers, rejoices, comments – it is always involved in what is happening.

The last premiere of Turandot coincided with the opening of the fully renovated building and hall of the Sofia Opera. Many years ago we lived with the expectation that a new opera will be built. The great conductor, then dean of the theatre, Asen Naidenov was clear that this will not happen – not just while he was alive (he died in the early 90’s of the last century), but assured us that we would not live to see it too. Well, at least on March 21, 2008 we entered the old but entirely renovated hall. I think its renewed appearance kind of charged the audience with a festive mood and respect. With the elegant wine red tone of the curtain and the upholstery, with the lustre of gold in some of the wall decorations, with the wider seats and rows, with the blue sky in a medallion on the ceiling… And with the breath of purity and freshness. I had a feeling that something new was starting in this very worthy and prestigious Bulgarian opera theatre on whose stage have sung and directed, and in the orchestra pit have played and conducted some of the most renowned personalities in Bulgarian musical life.

The performance

The plastic, visual form of the show is built vertically, with the space ruled by the mythological dragon – a symbol of China. The action takes place both vertically and horizontally. Below is the reality – life in Beijing, the territory of the people, of the aliens – as Liù and Timur. The higher levels are the ministers, Turandot, the princes, and on top of this imaginary pyramid is the Emperor, the Son of Heaven. The main venue for meetings and dramatic events is the circle, below, in the form of the twisting tail of the dragon. Off the chains with lead colour – the dragon’s mouth, crawls or hides the people of Beijing, a witness and commentator on what is happening, in this maw sink Liù and Timur. The décor corresponds with the idea of Turandot herself, with her ​​own imaginary picture of herself as majestically outworldly monster, an emanation of perfect innocence and purity of a heavenly creature, drugged by the obsession to revenge on male foreigners because of its distant predecessor Princess Lo-u-Ling.

For the second time Plamen Kartaloff directs “Turandot” on the Sofia stage and I can definitely say that his current production is more philosophical, more pounding. The mise-en-scènes are spare, but expressive, at times even aggressive in the emotional aspect. Experience and penetration in the internal levels of the messages of the story and its interpretations by Gozzi, Adams and Simoni have determined the freedom and flexibility in the building of a dynamic performance, the concentration of feelings and the impact climaxes. The director outlines the dramatic profile of Puccini’s opera with bright accents and detail of the images, but also with targeted use of the body plastics of each performer. He is helped in this respect by consultants Svetlin Ivelinov, choreographer, and Elena Pampulova – Tai chi coach. The mass scenes are developed effectively. Together with guest artist Miodrag Tabachki, the director relies on colours, bearing in themselves ancient symbolism. The costumes, whose authors are Yoana Manoledaki, Elena Ivanova and Anna Kirilova, are very effective.

After long years of absence, the podium of the opera was taken by conductor Emil Tabakov. For me this is a sign of significant change in the life of the Sofia Opera. The period of impersonal and without any spark of inspiration musical direction of former director and conductor Borislav Ivanov did not enter anything of value, dignity in its biography. The abilities and talent of Tabakov, in tandem with the creator of the rank of Kartaloff, give new look to the artistic expressions of the team. The orchestra, respectful of the knowledge and skill of Emil Tabakov, sounded nuanced, full, multicoloured, revealing the beauty of the magnificent Puccini’s music. The energy, sensitivity and temperament of the conductor flowed to the orchestra and the stage, and hence – to the audience in the hall. The complex score of the opera was covered in all its diversity in melody, intonation, modality, harmonics and pace and was recreated with genuine passion and inspiration. The result of the unison among the staging team was the strong suggestion and the brilliantly recreated form of the work. Indeed, at times, we felt some overdosing of emotion manifested in the strength and too exposed sound volume both in the orchestra, and soloists, but it is customary for a premiere. A premiere, which I felt and perceived with the rapture at the sight of a beautiful blossomed tree in spring. The presence of Tabakov was a chance for the singers too, who sang and played confidently, with commitment and overt empathy for the realization of the great music.

The soloists

The third power in the opera are the soloists. A carefully selected team of singers is a guarantee of success. As happened with the premiere cast. Mariana Tsvetkova – Turandot (I hear her for the first time) makes a strong impression with the silver, metallic colouring of her breakthrough, powerful trumpet voice. A very stable soprano, a singer of radiance and temperament. Perhaps with time and after the premiere excitement is allayed she will achieve (she needs and can achieve!) more nuances – in the tale, providing her motive for cruelty, in the third act, where she failed to outline convincingly enough the psychological effect of the death of Liù, and also of the first kiss of Calàf. Brilliant was Tsvetelina Vasileva, whose Liù is shattering – both as stage presence and singing. The high class of the singer, the filigree craftsmanship of each phrase, the stage behaviour, multiplied by the beauty of the voice, had their say. For me she was the star of the show. Kostadin Andreev, who has also sung many times the difficult part of Prince Calàf, was in excellent voice form – sensitive, attractive, giving it all without saving his physical and vocal energy. A singer who is remembered because he always lives through his part and plays it in full. All this is reflected in the audience, whose favourite he has been for years.

Timur was vividly presented by Dimitar Stanchev, one of the most voluminous and beautiful basses in contemporary Bulgarian Opera Theatre, also an experienced warrior in many operas battles and tests. The three ministers – Ping, Pang and Pong (Alexander Krunev, Plamen Papazikov and Momchil Karaivanov) were very colourful, but in their difficult ensembles they have some more to achieve yet. In the small roles of Altoum, the Emperor, and the Mandarin sang Miroslav Andreev and Stoil Georgiev. The choir of the opera performed its hard part with humour and passion, and brought me back to the glorious times when – not so long ago, it riveted the audience’s attention. Obviously a good job of chorus masters Lyubomira Alexandrova and Slavil Dimitrov. Of course this is only the beginning of its revival – there is yet what to be tackled in terms of sound, ensemble, dynamics, tempo and rhythm.

With its excellent qualities, with its achievements, which of course are only the beginning, and knowing the will of the new director and manager of the National Opera Plamen Kartaloff, I believe that “Turandot” will grow more in artistic and interpretational terms. And for a long time it will not only keep the memory of the opening of the renewed hall but will become a landmark production of our revived opera theatre.

Boyanka Arnaudova

Kultura Weekly – Issue 13 (2496), 05 April 2008

http://www.kultura.bg/bg/article/view/14102

The staging of Puccini’s famous work, with which the National Opera opened its renewed hall and Plamen Kartaloff inaugurated his second term as director, goes to Japan this autumn.

With his last opera “Turandot” Giacomo Puccini wanted to “shaken, to snatch all mankind”. Startling and groundbreaking was the premiere of the Sofia Opera, dedicated to 150 anniversary of the Italian master. A performance on world level, worthy to stand by the biggest opera stages in the jubilee year of Puccini. A premiere, born during a repair of the building, which demonstrated the ability of the Bulgarians to overcome the impossible working conditions, to withstand the test of one of the hardest titles in the opera repertoire, Puccini’s masterpiece “Turandot”.

This work is a real challenge not only for the soloists, but for the entire ensemble. We, Bulgarians, have one of the greatest Turandot – Ghena Dimitrova, who carried the heavy crown of the Chinese princess for more than 20 years, a record worthy of Guinness. We also have an outstanding ensemble. The opening of the renewed hall of the opera opened and renewed the face of our first theatre with the return of Plamen Kartaloff as director. 12 years ago he took his first managerial mandate to “Turandot”, now again he revived the theatre to new life with the same title.

Puccini’s swansong is a big challenge even for great theatres. In 1996 a star cast with Ghena Dimitrova conquered more than eight European stages, and opened for the Sofia Opera the way to Japan. This show won the confidence of the pretentious Japanese audience and together with La Scala our Opera House is preferred and sought-after now for the fourth tour in the land of the rising sun, which will take place in autumn this year.

In less than three months the new management was able to collect a star cast – the generation, which in recent years continues the tradition of Bulgarian vocal artists in the world. It managed to attract and Maestro Emil Tabakov. Plamen Kartaloff, acting as director and producer, put professionalism and energy to mobilize the entire ensemble, to kindle the spark of making contemporary theatre, which would correspond to our time. This premiere was an expression of the high spiritual standards of Bulgarians, of their talent, their potential that is revealed only when efforts are combined and rationalized by a clear strategy.
This production seeks the key to our time, unlike the previous one, with the nature of an exotic story. It relies on symbols and characters familiar from Asian philosophy. The stage is “overwhelmed” by the huge dragon that sweeps into space, creating three-dimensional feeling, reminiscent of the Chinese wall, which integrates all the action. In the body of the dragon, symbol of earthly forces, of power, is played cruel game of life and death of a female executioner, Turandot, who nevertheless finally falls in the grip of love.

Master of using stage space, Kartaloff recreates the high and low level, male and female, yin and yang. A brought to the fore platform is where the fight of life and death takes place between the cruel princess and the maddened with passion Prince Calàf. Elevated above it is the platform of imperial authority. Female and male come to life in graphics and colour in the background. Dramaturgy relies on dynamic change in the composition of light, the effect is like a film. All of this satisfies the requirement of Puccini of “the living theatre, the theatre of action”. The choir has a major role not only as a commentator but also as a motor of what is happening. The movement of the various groups, subject to the Tai chi technique and the quickly changing light setup and composition, build the drama in contrasts and impressively. This contemporary theatre testifies about the team thinking of the director, stage designer Miodrag Tabachki, artistic lighting Andrei Hadzhinyak, movement consultant Svetlin Ivelinov, the Tai chi of Elena Pampulova. The costumes from the previous staging of Yoanna Manoledaki are enriched with new by Elena Ivanova and Anna Kirilova. The new are a reference to the art of the Secession, the old conjure an exotic fairy tale. Chorus master Lubomira Alexandrova and Slavil Dimitrov coped well musically, but with the complex setting as well.

This directorial decision is a great test for the whole ensemble, not only for the chorus but also for the orchestra, which connects all this great stage design. Emil Tabakov built an impressive musical and stage drama, and did not for a moment miss the dynamics tempo and rhythm from beginning to end. Tabakov highlighted the contrasts in the rich orchestral score, brought new life to the formerly known interpretation of this shattering music of Puccini. The dynamic changes, the nuances – especially in the ensemble and choral scenes – created a new face of the work. An excellent sound balance between stage and orchestra was achieved, a craftsmanship, worthy of the best theatres. Here is the place to mention that the renewed room enjoys excellent acoustics, unlike before. I recall the words of the famous German conductor Hermann Abendroth at the opening of the Sofia Opera 50 years ago. He compares the acoustics of the theatre with that of La Scala. The artistry of our musicians, led by Maestro Tabakov, defended this view of the great conductor.

The elite soloists cast recalled that today we have our great singers who conquer the world stages, but unfortunately in our country are somewhat forgotten. Mariana Tsvetkova created a more feminine image of the cruel princess. Ever since her first appearance she plays the game of life and death – throwing the ball of her challenge to Calàf. Her behaviour in the test of Calàf with the three mysteries does not suggest so much cruelty, but rather vulnerability. This Turandot is different. She relies more on that dread and unknown passion that Calàf awakens in the princess still at their first meeting. Afraid of him, her eyes see the shining of the hero in him, she hates him and desires him, wants to win, but also to be defeated. Gifted with a powerful and beautiful voice, Mariana Tsvetkova subjects also vocally the image to that contemporary feeling, perhaps because she wants to express something of herself. The biggest challenge for Mariana Tsvetkova is to be in this role on the stage, on which the real master is the great Ghena Dimitrova; everyone would compare her, but she believes in her own feeling, because it reveals something of herself. This different stroke of art has been provoked by the director’s decision too.

Kostadin Andreev filled his Calàf with nerve and drama, with confidence in victory. He suggested that there is nothing more powerful than the power of love. He invested various shades in the vocal image of Calàf in his relation to Liù and his father, to Turandot. The exceptional vocal beauty and impression of Tsvetelina Vassileva in the role of Liù puts her into the world elite. In fact from her first appearance as Liù alongside Ghena Dimitrova, the Bulgarian soprano conquered the world stages. This Liù I am sure would appeal to Puccini. Convincing vocally and as an image was Timur by Dimitar Stanchev. Ping, Pang, Pong – Alexander Krunev, Plamen Papazikov, Momchil Karaivanov enacted a real theatre – in terms both of stage and vocal. This large-scale production is the result of the efforts of assistant directors Yulia Krasteva and second assistant directors Vera Beleva and Rositsa Dobreva.

The test of “Turandot”, Puccini’s incomplete creation about love, life and death, revived the high standards of Bulgarian opera art. This premiere was an exciting celebration for the audiences, who have returned to the opera temple; a memorable feast, inspiring self-confidence in one’s power and spiritual potential.
Magdalena Manolova
02.04.2008

http://www.kultura.bg/bg/article/view/14102

After 82 years the French opera “Lakmé” by Léo Delibes returned to the stage of the Sofia Opera. A tale of love, a vision of the world of exoticism, told by the “gentle blond giant” Delibes, famous also for his ballet “Coppélia”.Delibes created “Lakmé “, a pearl of the French opera, in the late nineteenth century, a time of flourishing of the exotic, which captured the imagination of artists from different arts with the magic charm of the Far Orient. “Lakmé” is played on a few stages in the world. It is a great challenge as a requirement not only of the style, but also of the singers, especially the tenor part. Even such theatres as the Vienna Staatsoper find it difficult to afford this title.

The Sofia Opera relied on the principle of co-production, trusted young talents, mingled different generations on one stage. This première is an expression of director Plamen Kartaloff’s strategy to rediscover opera masterpieces little-known at home.

The show is a co-production with the National Opera of Maribor, Slovenia. Kartaloff gathered part of the team, with which he has made the work in Maribor – stage designer Miodrag Tabachki, costumes artist Angelina Atladzhich, Petya Ivanova, star of the opera in Maribor, and Irena Petkova, who has also established herself there as well as the popular Mexican tenor Hector Sandoval. The conductor of the original staging, Francesco Rosa, was invited as a music consultant and to work with the singers, and Grigor Palikarov conducted the première. Another challenge was the French language. The answer was – intense work of Snezhina Rusinova with the singers and choir.

In the première performance of “Lakmé” the magnificence of the lyric-dramatic work was revived, the theatre of the word was revived, making the experience more accessible to the contemporary viewer. The directorial interpretation relies on the timeless theme – the power of love and sacrifice. Kartaloff has not been tempted to look for cheap effect, by giving emphasis on the clash of two different worlds, the English colonizers with the oppressed India – something that many directors do today in order to cause sensation and update familiar stories. He is looking for the depth of story, music and psychology, set by the composer. That allows him to retain the softness and flexibility which captivate with their beauty and sentiments.

The action takes place in India, over which weighs the English colonial oppression. Hindus pray to Brahma for freedom, guided in their fight by the High Priest Nilakantha. His daughter, Lakmé, however, falls in love with British officer Gérald. When he is wounded by her father, Lakmé hides him and showers him with caresses of love. Through the miracle of water she seeks to link their fates forever. Military duty, however, calls Gerald and he leaves. Lakmé has lost the meaning of life and commits suicide.

The spare set design creates a modern sense of this exotic tale. The spaces skilfully and without imposing form the temple for prayers and the noisy market, as well as the intimacy for the experience of the love scenes. The beautiful costumes and the typical for French opera ballet scenes (masterfully choreographed by Maya Shopova) reinforce the enchanting, exotic nature. The directorial style of Kartaloff is clear-cut. The duo Kartaloff-Tabachki (which we know from “Turandot” and “Un ballo in maschera”) endorsed the idea not only for the synergy in the work of both artists, but also the directorial style of Kartaloff. His style is characterized by plastic sculpting of the images – musically and on the stage, detailed elaboration of the ensemble scenes and turning the chorus into a protagonist. In other words – by his ability to shape a fully efficient ensemble theatre.

Petya Ivanova (Lakmé) showed her exceptional growth as a singer-actor for these 6 years absence from the home scene. Petya Ivanova’s Lakmé was a real vocal grace. With her voice she carved deep her heroine’s different states – from lyrical and joyful intoxication to the awakening of love and the readiness to die. The duo of Lakmé and Mallika (Irina Petkova) was an unforgettable experience. The two voices caressed the ear with their timbre beauty and the full synchronization of the internal state of heroines. The ease, versatility and the simultaneous timbre colouring of this rare coloratura voice of Petya Ivanova presented the aria of the bells with exhilarating brilliance and freedom. This performance will be remembered.

Hector Sandoval was a great discovery for us. His Gérald was a hero of the great opera stages. Real “tenore di grazia” as in the old times, with mezza voce and falsetto. He modelled with his voice emotions and conditions, soft and flexible, and vividly played the awakening of love. The third act was a unique “experience of love and grief”, casual, as in real life, despite the vocal difficulties. These soloists showed high class vocal and acting skills, they have mastered the breath of the musical phrase, the articulation of the French language and the nature of the characters, combined with a memorable delicacy and finesse. The heights or the continued development of the phrase in the high register did not prevent this true theatre of words and music, unaffected and natural as speech. Two young talents debuted – bass Peter Naydenov (Nilakantha), a real discovery, and soprano Theodora Chukurska. Naydenov created the character of the priest convincingly both in vocal and in acting.

The choir once again showed their excellent vocal and acting skills, merit also of the chorus master Slavil Dimitrov. Some discrepancies occurred in the complicated setup in the second act, but that was quickly controlled. Conductor Grigor Palikarov overexposed some areas of the delicate orchestral score, which did not correspond with the rich nuances in the vocal interpretation. I felt I needed more singular breath between stage and orchestra to get the full impact of this magic exotic work.

Duma Daily, Sofia, 27.05.2008

Magdalena Manolova

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