We are happy to share the huge amount of memories connected to the 2016 Traviata run, including interviews, reviews and pictures, more coming in the following days.
Katalin Gyürky’s interview originally appeared on www.hajdupress.hu.
Klára Kolonits shares some of the most personal memories and experiences connected to the role of Violetta, the mystery of death and the staging of Nadine Duffaut.
“This is more polarized, a little more harsh approach witch matches me and my age very well. It’s clear I am not debutante any more, but a mature woman, mature personality who makes choices. That’s why I like a lot the Violetta who – instead of suffering through her life – dares to make choices and bear their consequences. In the concept of Nadine, Violetta is a modern woman, true complex character. Not a two-dimensional figure, but a one that dares to be even antipathetic on stage. I find that my task is not to show some moral superiority through her, but a flesh-and-blood woman, who at the beginning dares to be even quite nasty for the young man who tries to court her. Nadine has a couple of very exact ideas that we can use to show this on stage. And in the same time we have to bear in mind that this piece had its premiere in the period of very serious moral standards, that stand very far away from our times. Nowadays the ostracism of a woman sick of tuberculosis is not such a big deal any more, not to mention the violence of men towards women. And in addition…”
Katalin Szabó’s interview originally appeared on www.naplo.hu. It concentrates about everything that one may need – technically, emotionally and practically – to built up a complete, mature interpretation of the role of Violetta.
I have many people who help me, but the most important is my husband who was here now as well and prepared a whole list for me, about what should I act more precisely or consequently, or what should I change. I am under his continuous control as a singer and as an actress as well, because he works a lot in the drama theatre as well. The major part of our friends are actors as well, I catch a lot from them as well, in the terms of proportion. I will tell you a concrete example: Piroska Molnár reads Esterházy. Generally speaking she just sits on the stage doing nothing. But behind it there is such a great knowledge and concentration, that even in this way she could be impressive. It is always my goal to make this exact movement based on this exact thought, and not to make it, but let it be true. In my eternal life, even when I have no voice anymore, this will occupy my thoughts. This is such an equilibrium, that first of all cannot be boring, because there is always better or more genuine way – and second…
March 19th, 2016
The best singer: Klára Kolonits (Traviata, Debrecen)
The best production: Traviata, Debrecen
The best staging: Nadine Duffaut (Traviata, Debrecen)
The best conductor: Máté Szabó Sípos (Traviata, Debrecen)
Violetta of Klára Kolonits is important not only in her own career, but also in the performance history of Hungarian Traviatas. Her voice reached its maturity in bel canto roles, she executes them on an international level, opera house should build its repertoire on her(…). Her Traviata was so exceptional, that I did not have any doubt that there will be no rival for her in the contest: even, that comparing to her we should not give any other prizes. I could bring long argumentation on why this performance was of a world class, but first of all I would like to mention her dramatic sensitivity, secure and perfect top notes, as well as dark and thus dramatic, gloomy colours.
Klára Kolonits stands ouf of the mediocre from any point of view (…). Surprisingly, she shows that her bel canto coloratura soprano sounds most beautifully in the low tessitura of the most dramatic scene, Addio del passato.
Klára Kolonits’s Violetta was incredible, even comparing to her average top class. She had simply no rival in the best female singer category.
Antal Z. Tóth
Klára Kolonits’ Violetta of thousand colours, who even in the moments of delight foreshadows the painful decay, birth and loss of a minute joy, the infinite human tragedy. This Violetta does not fight with her fate, meekly surrenders herself to each of its blows; as if offering herself as a prey to reconciliate with her past, when she forever renounces Alfredo. The vocal production of Kolonits reminds of the greatest interpreters of the part.
17th April 2016, Antal Z. Tóth | Momus
The choice of the title role’s interpreter is a direct hit. Violetta of Klára Kolonits is of an international class and is hypnotising the audience with soulful, genuine acting and classy, virtuoso musicality with no harsh tones. Her soprano matches rare timbre with perfect diction and she builds up the great dramatic moments without any self-concerned narcissistic singing. I liked very much as she enriched the score with silences and pauses, which made the part even more exciting.
16th April 2016, Hajdú-Bihari Napló
Klára Kolonits is just as perfect Violetta as we all expected, knowing well her vocal endowments: who could have any doubt about her great interpretation, atomic precision in high register and enchanting coloratura skills? Her wonderful vocal and stage performance was the gem of the whole evening. Just to mention one point: the singer poignantly represents Violetta in the third act, when she is deprived of her beauty and rich hair, and the aria is one of the most breathtaking moments of the evening.
14th April 2016, Kata Kondor | Opera-Világ
Among the singers, the most complete performance was undoubtedly the one of Klára Kolonits in the title role. The artist completely identified herself emotionally with the figure of the fallen woman, singing through the evening with incredible dramatic power and impeccable technique. Nowadays it is very rare to hear an interpretation Violetta with such dynamical shading, miraculously beautiful pianos and such a moving, tense dramatic climaxes even worldwide. Kolonits performed every section of this difficult part, the lyrical and dramatic moments as well, with equal intensity and without a slightest fault. After two fantastic acts we could suppose that nothing can surpass such a wonder, but the heart-wrenching, hopeless third act took it all. I think it won’t be too much to say that Klára Kolonits with her Violetta was the climax of this year’s season.
14th April 2016, Zoltán Péter | Melpomene
Klára Kolonits in the title role exceeds even herself, and by far. Panoplied by her technical excellence, she impersonated painfully tough, but very human and lovable Violetta, driving the audience back into the seats (…). Her musical interpretation developed as well since the earlier – and already exceptionally good – Violetta performances. She dared to tear apart the “E strano…” verses as introspective and puzzled thoughts, which was a perfect opposition to the cathartic fervour of Sempre libera. In the second act the beginning of „Ah! Dite alla giovane” was so incredibly soft and slow that the power and tension of consecutive crescendo was utterly striking. With the third act however she shall be crowned for the first place interpretation in the opera acting nationwide – if only such a category existed. (…)
4th April 2016, Antal Z. Tóth | Momus