Word: marton
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Dates: during 1980-1989
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...night devoted to singing, and the cast, conducted by the company's music director, James Levine, was a rich international assemblage that included the splendid Bulgarian soprano Anna Tomowa-Sintow as the gentle maiden Elsa, the fiery Hungarian soprano Eva Marton as the scheming Ortrud and the hearty Danish bass Aage Haugland as King Henry the Fowler. Most notable of all, as Lohengrin, the mysterious knight of the Holy Grail, it featured Placido Domingo on one of his rare forays into the German repertoire. What looked at first like a mismatch turned out to be a gamble that paid...
Domingo notwithstanding, the Met's Lohengrin was far from a one-man show. Marton, a dazzling Wagnerian soprano who is equally adept at setting off such potent Italian fireworks as Turandot, made a gloriously fearsome opponent as the evil sorceress. Her blazing fury as she confronts her weak husband Telramund (Baritone Franz-Ferdinand Nentwig) near the start of Act II won a spontaneous ovation that stopped the show. Providing a worthy foil for Marton's villainy was Tomowa-Sintow, a lyric soprano with a pure, unforced voice that improved after a somewhat shaky first act; her fateful exchange...
...Hungarian-born Marton, too, is electrifying audiences worldwide. Last month in the Opera Company of Boston's Turandot, she gave a regal account of Puccini's Chinese ice princess that could serve as an object lesson in how the role should be sung. Bringing the full weight of her massive voice to bear on the torturous part, Marton demolished its fearsome technical difficulties while touchingly developing the heroine from a frigid despot into a tender, vulnerable woman. This week at the Met she takes on another of opera's superwomen, Leonore in Beethoven's Fidelia...