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Sine Merrild Bundgaard

@sinebundgaard

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Next up: Sara in Melodrama #3 - Sacre, the first victim
#copenhagenphil
https://copenhagenphil.dk/koncerter/melodrama-3-sacre-det-frste-offer/

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Melodrama nærmer sig – og vi glæder os til en forestilling, der kombinerer orkestermusik med skuespil, sang og videoscenografi 🎻🎭🎥

Sammen med Copenhagen Phil vil en række medvirkende indtage scenen i Konservatoriets Koncertsal, nemlig skuespillerne Simon Bennebjerg og Zaki Youssef i rollerne som Isak og Ismael, den Reumert-vindende sopran @sinebundgaard og årets operatalent @laurahelenehansen som deres mødre, Sara og Hagar.

Og endelig har illustrator @halfdanpisket skabt nye tegninger til forestillingen, som scenografkollektivet @vertigo.dk projicerer og animerer på store lærreder i koncertsalen; et levende, visuelt univers rundt om orkestret.

Ses vi?

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Nunta lui Figaro 🎭

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„Nunta lui Figaro” la TNOB. 🎭

Am mers la operă cu băiatul meu de 7 ani și pot spune că am avut două spectacole în aceeași seară: unul pe scenă și unul lângă mine. 😄

A comentat fiecare personaj, fiecare intrare, fiecare gest și, evident, a avut întrebări despre absolut tot. Mozart cu comentariu live, ediție specială pentru mame. 😂

Dar cred că exact așa începe dragostea pentru operă

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Had the pleasure to meet these lovely people in Hirtsals a few weeks ago. 🌊
Thank you to @sinebundgaard and @operavedhavet for arranging this luxurious week working on music with @catherinewynrogers
📸 Hans Ravn

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Looking back at march I’m filled with gratitude for this meaningful production of the Carmelites. I can’t believe it’s already been a month since we finished. Thank you all wonderful colleagues and friends, being a part of this beauty 🍀

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“You can’t always get what you want - but if you try sometimes, you get what you need.” Rolling Stones had it right. Dialogues des Carmélites might not be the opera you want - but it is very much an opera you need to see.

On the surface it’s a story about a young woman, Blanche, who enters a Carmelite convent just before the French Revolution tears through the country and the country. And the real choice facing the nuns. But this opera is more about what it means to be alive in harrowing times, when fear ravages your thoughts. Something we all can relate to at the moment.

Though based on a real story, Poulenc didn’t cover story or score in 18th century dust. Told through a series of conversations between the characters, Poulenc created real people. Infuriating people, who make infuriating choices. The opera is about pain, faith, fear, joy, death, sacrifice, hiding - and love. Barrie Kosky’s production strips away the last comforts of passively watching it like a costume drama. In modern dress (mostly), it becomes a emotional training session for the audience. You can’t look away - you can only feel. It’s not comfortable. It’s cathartic.

Poulenc’s score has a strange gentleness, even when it isn’t gentle. @asherfisch and @detkglkapel brought all the colours out, all the contrasts. All the nuances.

It felt like every note told a story. Both in the pit and on stage. @doris__lamprecht gave the old mother superior both a trembling, fragile and insanely powerful voice; the true rage against the dying light of day. @juliana__zara ‘s Constance, bubbling with joy and carefree youth - and yet, lines of fear and pain beneath. @dianahallermezzo ‘s Mother Marie had a strong voice filled with the righteous’ zealous faith, yet stumbling when the price of that conviction became clear. @sinebundgaard ‘s new Mother Superior gentle and in the world, if not of the world. A gentle mother for her daughters. And, of course, @elena_tsallagova ‘s Blanche with a voice filled with fears - real and imagined - and yet so incredibly strong, so moving. Miniature portraits in every conversation.

This might not be the opera you want. But it is the opera you need. Go see it.

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Every 𝓇ℯ𝒽ℯ𝒶𝓇𝓈𝒶𝓁 reminds me 𝓌𝒽𝓎 this work matters. In its stillness, its restraint, its grace.

They were real people, these 16 Carmelite nuns who refused to renounce their faith. Now, bringing this story to life feels more important than ever.

It is with a team of wonderful colleagues who are constantly supporting and uplifting each other in the face of this heavy work, it’s really become a family. In some ways, the choice these nuns took has even become more understandable, with community we can truly become greater and are capable of such bravery.

@kglteater @detkglkapel @asherfisch ℬ𝒶𝓇𝓇𝒾ℯ 𝒦ℴ𝓈𝓀𝓎

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“Det vidunderlige er, at forestillingen ikke bare er lige så god som ved premieren. Den er nærmest bedre. Alle de medvirkende sprudler, og historiens omplantning til teatrets verden på den ene side og den ekstremt rige svineproduktions verden på den anden side er stadig urkomisk og frisk“

Læs mere på Kulturtid.dk nu⭐️

#kulturtid #anmeldelse #dengladeenke2 #operaen

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Tomorrow is my Debut at the @kglteater in Copenhagen! I will conduct the incredibly funny production of “The Merry Widow” by Kasper Holten.
A piece that is dear to my heart in a house that welcomed me to their heart.
Thank you to all the amazing team, singers and orchestra. looking very much forward!

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Gianni Schicchi: My brilliant family. Soon on @hbomaxbe 🤷🏻

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Gianni Schicchi: Last performance of this crazy production. It’s been a blast! Grazie, famiglia ♥️♥️♥️

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Operaen: Repremiere på Puccini’s Il Trittico.
Tre operaer på en dag/aften, hvor jeg synger Gherardo i den tredje, Gianni Schicchi.
Jeg sang samme rolle ved premieren i 2012 og det er stadig en sjov udfordring.
En rigtig ensembleforestilling, hvor der synges og spilles teater i fuld fart.
Føles lidt som 10 km løb på 55 min.
God fornøjelse til alle! 💪🏼

Foto: @miklosszabophotography

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