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PHANTOM OF THE OPERA, COPENHAGEN PERFORMANCE MARCH 2002


I can fully understand that the Danish production of "Phantom of the Opera" played for nearly three years in Copenhagen. First of all, the show itself is faboulous! Secondly, there were several sharing the lead roles, and in my opinion, that prevented the artists on stage of becoming tired of their roles. Further on, it is one of the most elaborate musicals in the business, where every piece is made to match eachother.

When one have been wandering around in the old Paris opera in nearly 40 years, I though I would be picky about the musical's recreated elements. But they've managed to keep the atmosphere and details I'm so fond of. You can really tell that nothing on stage is made by coinsidence, and no expenses is saved. And eventually, that pays off. Even though the investments in this production has been hilarious (...), the quality pay off, because the audience get the feeling that what's happening on stage, is genuine.

A minor detail: the 120 wigs are prepared evry single day, and the 10 hair dressers uses a total of 50 hours a day to prepare them. That tells it all... And every singe costume is also a piece of art. The costumes and sets are made by the late Maria Bj�rnson, who's grandfater is the famous Norwegian writer Bj�rnstjerne Bj�rnson - a fun detail for us Norwegians.

In the title role, I saw Peter Jorde. Not only did he appear as real and authentic, his voice was also gorgeous, and his physical appearance was perfect for the role. Viktoria Krantz was a splendid and excellent Christine Daa�. A pity she had to go through so much before she finally got her dashing and elegant and incredible well-singing Raoul, which was convinsingly performed by Tomas Ambt Kofod. Hanne Andersen was a very elegant Carlotta Guidicelli, and Marcello Ronchietto sung and created a very good star tenor called Ubaldo Piangi.

For other Norwegians, it might be fun to know that one of the ballet dancers, Kristina Conders, were Norwegian. I remember her well from both the Fagerborg school and the Royal Norwegian Opera's ballet school. It's good to see young ballet dancers succed abroad.

Per Engstr�m was a fabolous director which lead the orchestra in a firm way. My only complaint is that, at the balcony where I sat, the sound could have been a tad stronger to get the "real" Phantom feeling. Usually, my complaint is opposite...


Henning H�holt



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