Vivier’s Journal, Konserthuset, 16 maj 2018
Camilla Lundberg in Dagens Nyheter writes in “Top Marks. Wonderfully dynamic performance when Claude Vivier finally arrives in Sweden”
“With travels to Bali and Iran, with readings of the Bible, Pinocchio and Lewis Carrol, in 1977, Vivier composed a sometimes extatic, sometimes drastic diary in the grand choir piece ‘Journal’. Four vocal soloists and percussion evokes something of a lithurgical ritual; steeped in asian spirituality but also punctuated by absurd notions from Alice Through the Looking Glass.
Reine Brynolfssons wonderfully dynamic manual is juxtaposed against the wonderfully pure timbre of Eric Ericssons Chamber Choir, capped off by the four star soloists – clear as a starry night in the extatic final’s invocation to a unattainable cosmic love.”
Erik Wallrup in Svenska Dagbladet writes in “Murdered composer revived with fragility”
“Brilliant – especially as the more significant approaches toward the new music seldom occur outside the walled-off gardens of the festivals.”
“The solo quartet was excellent”
Madama Butterfly, Skånska Operan, 2017
Kjell A Johansson in Kristianstadsbladet writes in “Puccini a Success at Bäckaskog”:
Staffan Liljas in the role of the American Consul of Nagasaki acts as a comunications link between the couple. The soloists diction is good overall, but Staffan Liljas does not allow you to miss a single consonant.
Of all the Skånska Operan productions I have seen, and there are many, I think this “Madama Butterfly” is the one which has made the deepest impression on me.
Lars-Erik Larsson in Skånska Dagbladet writes in “A Butterfly with many qualities”:
As an audience member one is drawn into their feelings and engaged in the story. It is fine acting and well thought-through direction.
Ligetiland, Folkoperan, 2016
Bo Löfvendahl in Svenska Dagbladet writes in “Success when Folkoperan frolics in Ligeti’s World”
“‘Aventure’ for three voices becomes a complete miniature opera, where Alexandra Büchel is joined on stage by Staffan Liljas and Maria Sanner. Reclined in lounge-chairs they enact a whole movie of reactions, with great vivacity and skill.”