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TV: Tonight was an opera theme in “Star Wars.” The one who had to leave the contest after the votes were counted was Hege Øversveen.
Below is our evaluation of the artists’ performances.
Einar strange: “A furtive tear fra Elskovsdrikken” (Gaetano Donizetti)
Odd Einar has a powerful voice that should be suitable for most things, also for opera. However, it does not settle completely: profit and joy are missing. Perhaps it’s conceivable that nerves are one of the reasons why he stiffened than he usually is when Odd Einar breaks loose on stage.
The vibrato doesn’t move exactly as it should and the pitch jumps need to be pushed all the way. But he saves a lot on the routine and that he still has a violent voice.
Hege Øversveen: “Habanera (Love is a rebel bird)” fra Carmen (Georges Bizet)
It must be safe, it is not an easy task to bask in this magnificent number. Hege is doing his best and he’s not quite in the fjord either. Not all tones are emitted consistently. Also, there will be some hoarseness here and there – it takes a lot of lung capacity and it doesn’t always fully stretch.
But Hege gets a head start by trying to live on paper while valiantly trying to beat challenging singing techniques and tones that are outside of his natural income.
Vegard Bjørsmo: “Dress up Giubba fra Pagliacci” (Ruggiero Leoncavallo)
Vegard dresses to be dramatic, and here it shouldn’t be dramaturgically. He focuses his gaze forcefully forward and pulls with the pondus he has. It is also nice. They are dark and sad things, and Vegard conveys the story with great empathy and pathos. It’s good that he’s only 19 years old.
Sangteknisk probably has a little way to go before becoming a Durk-driven opera singer, but that’s not the point here either. Vegard ticks all the correct boxes and signs as the best of the night so far.
Ingeborg Walther: “Voi Che Sapete” from Figaro’s wedding (Wolfgang Amadeus Mozart)
Is there anything Ingeborg isn’t fixing? Their twinkling carts feel like ear canals. The vibrato and tone control are impeccable. The dramatic aspect may not be spectacular, but it is also a work that does not require strong dramaturgy.
It seems like most things are hilariously easy for Ingeborg. It should not be construed to mean that this is really easy to handle. These are complex topics and it says something about the ability to communicate here.
Emil Solli-Tangen: “I know a garden” fra Maristella (Giuseppe Pietri)
As he himself points out, Emil, the drop height is excellent tonight, all the time this is his terrain.
You don’t have to worry too much, here he is on a level all to himself tonight. Also, you should congratulate yourself for not choosing a prune that you could easily have melted the Norwegian people with. But they probably melt anyway
Here’s the heart on the outside of the jersey, the goosebumps, and the tonal jumps that come in from the toes and up the sunroof. Mimicry, technique, communication: this is how it should be done. In fact, there is nothing more to say about it.
Myra: «Seguidilla» fra Carmen (Georges Bizet)
Myra herself has said that she hasn’t sung that much in the traditional sense before “Star Wars.” She is first and foremost a rapper.
I think most people forgive him for falling short when it comes to fine-tuning the genre of opera. Her laugh after the session testifies that she has not had the highest expectations of herself either.
It is not necessary to point out much more that this is too big a task in terms of singing technique. He limps through the number in a cheerful way. That he hardly touches any of the notes on the way, avoids it with irony and charm. That’s at least something.
Alex Rosén: “Make way for the factotum” fra Barbereren i Sevilla (Gioachino Rossini)
Alex has a personality big enough to fill a room, that’s for sure. That he doesn’t wipe the table at the opera is no big surprise, but Alex is Alex – he’s never bored when he’s on stage. He also has a powerful voice that sounds good when he gets the push right now and then.
Everything in between is marked by screaming and an intense search to reach the goal with the text. But, but … the play is also important and has much more luck. Maybe even completely raw?
Sandra Lyng: “Let me cry” fra Rinaldo (Georg Friedrich Händel)
Sandra has been given another chance after a voting problem in the previous round. She has no intention of abusing that opportunity. She does very well when she can sit down to continue in the higher register. There is also the vibrato as it should.
She is a bit more hesitant in the verses, and at some point it also seems like she is missing some of the text, this puts her out of the last half.
But it doesn’t have all the meaning in the world – his tone of voice is just absolutely beautiful and Right to a task like this.
Knut Marius Djupvik: “No dorma” fra Turandot (Giacomo Puccini)
He’s a kind of day laborer that Knut Marius gets involved with here. Several have had great success with this in “Star Wars” before, so you must find yourself being compared to previous achievements.
Hallelujah, give your opinion. Knut Marius leaves nothing to chance. Here he plants each note with the utmost precision. From the introductory phrases, to the last mighty “Vincerò” hanging and shaking in the air, you get goose bumps.
Elegant, effortless, and immensely beautiful.
