Cher Public

Someday I’ll step on their freckles

Congratulations to dramatic coloratura soprano Klára Kolonits, who reportedly tore down the Landestheater Nürnberg yesterday, flaunting her vocal and dramatic chops in Peter Konwitschny‘s controversial production of Verdi’s Attila

  • Bill

    Klara Kolonits is a member of the Budapest Opera ensemble,
    often singing Mozart roles. She sang this past season in November 2016 at the Erkel Theater in a new production of Lucia (Erika Miklosa was the second cast Lucia) and Kolonits was effective (including the highest notes of the mad scene) in an ugly production which looked like a metal erector set while the rest of the cast was unfortunately quite mediocre. Kolonits’ voice is fairly even throughout the range and the Budapest audience gave her a strong ovation with some boos for the production. It would probably be a stretch for Kolonits to sing Attila in a larger opera house than Nuernberg. Miklosa was also good as Lucia at the second Budapest premiere two days later in a more studied performance but skipped the high notes at the end of the mad scene’s two sections (though she was scheduled to sing Zerbinetta in Budapest this past month where there is no avoiding the highest notes. ) Miklosa was largely known outside Budapest for her Queen of the Night a decade or so ago.

  • Apulia

    a pretty scary Quen of the Night, too--

  • Dan Patterson

    Kolonits recorded a wonderful album of bel canto arias, very enjoyable! Apparently not readily available stateside, however.

  • Niel Rishoi

    Klara Kolonits has one of the most exciting voices today, and one of the most outstanding sopranos coming out of Hungary. Her predecessors Karola Agai and Sylvia Geszty had relatively fluent voices as well, but Kolonits has a genuine dramatic coloratura soprano, large, gleaming, resonant and brilliant in tone. She has that “frontal” tonal production I love so much: this is the kind of voice that reverberates throughout the theater with incredible overtones. It positively boggles my mind why she hasn’t been brought over here: she would be a bel canto/Mozart/early Verdi star in any venue in this country. In addition, she is beautiful, and has that ineffable star quality in her stage presence. Lastly, she is a producer/director/colleague’s dream: modest, thoughtful, a team player, and very simpatico. I saw an interview with her on YouTube, and they don’t come any friendlier or more down-to-earth than she. I hope these positive notices garner some further interest, because voices and talents of this type don’t often come along in a generation.

    • CKurwenal

      It could of course be her choice -- perhaps she likes living in Budapest and being able to do the school run and see her family, not suffer the indignity of air travel on a regular basis, live in her own home with her own things around her, etc. Looking at her activity on operabase, she looks like she has a very nice life, doing loads of really great roles in one of the most beautiful opera houses in Europe, with just occasional forays elsewhere to keep it interesting.

      • Niel Rishoi

        That is certainly a reasonable assumption; being a “traveling artist” is a gruel grind for many. And who says you have to conquer all of the world’s opera houses to be artistically fulfilled? If you’re doing your thing, that which you love to do and you are doing your work well, and are appreciated by the world around you -- why indeed leave your own back yard for places that may cause upheaval and disruption to your life?

      • Ian Heckman

        Unfortunately, I don’t think it is her choice. I’ve read a few conversations with her over youtube and with some other people. Apparently she’s tried to find a good agent that will take her elsewhere, but she’s been having a lot of difficulty.