"”Usher” at Folkoperan had had a little more directed."
"Distance between Edgar Allan Poe's novell the House of Usher the doom and Annelies Van Parys opera Usher is significant. Claude Debussy, who merely began the opera, sought by all accounts portray it that fascinated him: the symbolism, the mysticism, the implied incest. Ever since Baudelaire translated Poe into French had him a solid reputation in France, not the least of the symbolists."
"Van Parys has woven into his own music with it that have been preserved by Debussy; the evocative sounds which do not lack fragility. The text, by Debussy and Gaea Schoeters, is a long time close to the Poe's story that can be described as a family's last death throes, with gothic overtones. "
"on the occasion of a letter visit the Friend of his childhood friend Roderick Usher and his sister Madeline. "
"As the last in the family is the near downfall and it is also what friend are witnessing in the short story."
"At Folkoperan is Philippe Quesne for the most part we see: director, set design, costume, light. Some ugly furniture, a couple of tvs with pictures of the house, often burning, and the plastic sheeting is what the singing of the quartet has to hobble around in. "
"the Friend wearing the duffle coat and plaid shirt, the Doctor's pink t-shirt and pistagefärgad shirt. "
"It is as if this house, instead of in a romantic wilderness is in a little downturn suburb: bright room in bright light. White learn long ago to be the new black, but right here, it creates a strange and almost incomprehensible contrast to the story."
"Towards the end breaking down the text; Schoeters choice to basting in today's populism in moral terms (we must be on our guard against the fear), cut against the story, suburb or not. Maybe it would have worked if Quesne had devoted a little time to direct. "
"With the exception of Alexandra Büchels Madeline, the game is stiff, oengagerat and with scenes laid at random. Rickard Söderberg's Doctor, evil genius, lunsar good-natured around, the Friend (Olle Persson) is rigid and the closest to the aback while Roderick Usher (Ola Eliasson) don't really know which way to turn."
"the Vocal is all three mansrollerna of the good class, the cast has presence and character. Büchels soft and not rarely adopting the behavior (she has well taken its own initiative) is disturbed only by a bit of sharp höjdtoner, while the chamber ensemble during the Marit Strindlund gives good justice to the score. "
"Shame on the so rara musical peas are it. A thoughtful director, and a revised libretto would otherwise result in an opera some in the class with a different skräckkortis, Benjamin Britten's The turn of The screw."
"by Claude Debussy, and Annelies van Parys"
"Directed & set design: Philippe Quesne"
"In the roles of: Ola Eliasson, Alexandra Büchel, Olle Persson, nRickard Söderberg"
"Conductor: Marit Strindlund"
"running time: 1 hr 35 min"