I Puritani 2017

“The interpretation of Kolonits is so essential, that I have to mention it. In the second act, in the two-parts mad scene the palette of her voice becomes dark and sad. This is rather natural in the first part, but which is even more interesting, that in the fast section it didn’t brighten up either, showing that the joy is only superficial and in the soul’s depths the darkness is still present. In the third act, the resolution comes – one may have guessed it, but even then it has a huge impact. When Arturo says that he loves her and offers his hand to her -Vieni, vieni! – the light of true happiness, a real sunshine illuminates the voice of Kolonits. Not even mentioning the wonderful high Ds in which together with Demuro they expressed the infinity of their joy. With her voice and with her singing, Kolonits reveals the deepest secrets of bel canto, focuses the attention on her rare gifts, shows the particular interpretation possibilities lying within the style.”

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Everything about Klára’s stage debut in Puritani can be found under the new Elvira section under Roles.

“This figure reminds a lot myself at the age of 16, and all that I used to think about love and relationships back then. I used to read a lot and my expectations towards men were based on works of Tolstoy and Balzac. If a boy didn’t tak to me just the way I expected him to, I reacted very vividly – just like an opera heroine. It remains deep in your subconsciousness. “

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