Wednesday, July 26, 2017

July 26, 1996: The 3 tenors in Gothenburg, Sweden

1996-07-26 The 3 tenors, Ullevi Stadium (Gothenburg)

Josep Carreras, tenor
Placido Domingo, tenor
Luciano Pavarotti, tenor
Philharmonia Orchestra

James Levine, conductor

GOTHENBURG Ullevi Stadium, July 26, 1996
Philharmonia Orchestra, conductor James Levine
on tv


Carreras: Lamento di Federico (È la solita storia del pastore) from Cilea's 'L'Arlesiana', Improvviso (Un dì all'azzurro spazio) from Giordano's 'Andrea Chenier', Granada (Lara)

Domingo: O souverain, o juge, o père from Massenet's 'Le Cid', No puede ser from Sorozabal's 'La Tabernera del Puerto', Dein ist mein ganzes Herz from Lehar's 'Das Land des Lächelns', E lucevan le stelle von Puccini's 'Tosca'

Pavarotti: Addio alla madre (Mamma, quel vino è generoso) from Mascagni's 'Cavalleria Rusticana', La mia canzone al vento (Bixio/Mancini), Mamma (Bixio/Mancini), Nessun dorma from Puccini's 'Turandot'

Medley I: Because, La danza, Be my love, Marechiare, Muñequita linda, Torna a Surriento

Medley II: Maria, Tonight, Ò paese d'ò sole, Cielito lindo, Moon River, Caminito, Mattinata, Amapola, O sole mio

Encores: La donna è mobile, Torna a Surriento, O sole mio

OD Travel

Tuesday, July 25, 2017

July 25, 2015: Don Carlo in El Escorial, Madrid

2015-07-25 Don Carlo (Giuseppe Verdi), Teatro Auditorio San Lorenzo de El Escorial (Madrid)

Pelipe II. = John Relyea
Don Carlos = José Bros
Isabel de Valois, tercera esposa de Felipe II = Virginia Tola
Rodrigo, marqués de Posa, amigo y confidente de Don Carlo  = Ángel Ódena
Fraile = Simón Orfila
Gran Inquisidor de Espana = Luiz Ottavio Faria
Princesa de Eboli = Ketevan Kemoklidze
Tebaldo = Sonia de Munck
Voz de Cielo = Auxiliadora Toledano
Conde de Lerma = Gerardo Lopez

Maximiano Valdés, conductor
Orquesta de la Comunidad de Madrid
Coro de la Comunidad de Madrid
Coro de la Orquesta Sinfonica Verum
Banda Interna de a Orquesta Sinfonica Verum

Director de escena - Albert Boadella
Escenografía - Ricardo Sánchez Cuerda
Figurinista - Pedro Moreno
Iluminador - Bernat Jansà
Coreógrafo - Amauri Lebrun

Director del Coro - Pedro Teixeira

So the idea of Albert Boadella was create a more historical correct Don Carlo by Verdi. So he starts off with putting up the the opera in El Escorial. Escorial is after all mentioned in the opera but non of the action is set there. The places in opera is San Yuste monastery in Extremadura, the Royal Palace in Madrid and in the Queen's Garden there. Outdoors in.a Plaza in Madrid for the auto-da-fe and a prison. The opera is played in the hyper-modern Theatre Auditorio in San Lorenzo de El Escorial. The royal building and monastery called just Escorial in the opera is just some hundreds of meters of The Theatre. El Escorial is a big area with several villages and it an hour away from Madrid.

To make the opera or indeed Schillers play more historical is not easy. Historical correctness was not really something Schiller or later the librettist cared too much about. Schiller did try to get the History Right but in the en it was more important to get the drama right, a compelling story. Lucky as the drama was made into an opera it got a better structure and is much more compelling. Historical it is quite false especially the idea that Don Carlos, Infante of Spain and Elisabeth de Valois was ever in love with each other. But first it was Don Carlos who was going to marry Elisabeth. But then it became obvious that Don Carlos was not the right person and the alliance between France and Spain could only be strengthened by the French King's daughter marry the King of Spain, not just the heir of The Spanish throne.

One of the most interesting conflicts in the opera is between the throne and the altar. How long must the throne bend before the altar. In reality Philip 2 of Spain supported Inquisition fully. Assumed guilty was the King's idea of justice. There was conflict often between The king of Spain and the Pope. Philip believed himself closer to God than the Pope. The Pope was not just a religious leader at this time but a sovereign that often went to war and not always for religious reason. Philip made everything for God. The only acceptable faith was the Roman Catholic faith and that meant all Spaniards should follow Philips. Philip was King, Prophet and Priest, and naturally best pals with God. He often made decisions with the firm belief that God would perform the miracles Philip needed. Europe's history might have seen most different if Philip had been more of a realist than a fanatic.

Don Carlos and Elisabeth de Valois was the same age and died in the same year, a terrible year for poor Philip. The only woman that Don Carlos respected and never was uncivil towards Elisabeth. Maybe Boadella was right that Don Carlos loved Elisabeth with an infantile love. There was nothing in Don Carlos to compel Elisabeth to fall in love in, but there was reasons for compassion.  The marriage between Philip and Elisabeth was a happy one. She was his third wife, his second marriage with Maria Tudor of England had not been a happy one, so Philip was devastated when she died because of childbirth. To loose the heir of a kingdom is always a disaster and Philip never wanted Don Carlos dead even as difficult he was and in the end Philip could no longer delude himself that it would be a good idea to have this strange, dangerous person on the Throne of Spain.

The idea of Rodrigo of Rosa is a creation of the times of Schiller who wrote Don Carlo also as a commentary of new idea in politics in Germany. The idealism of Rodrigo does not belong to the century of Philip 2 of Spain. In El Escorial Don Carlos was played as a hunchback with a lame leg and with many nervous ticks. Still someone to trust to change the life of all in the Netherlands. Maybe it was then. The truth about Don Carlos is that he looked at Netherlands and wrote letters to leaders there as he was on the way to treason, and later he attacked his father with a knife or tried. It was popular to tell that Philip killed his son (it was a Protestant rumor). Later a former secretary of Philip, who had managed to run from Spain to England with Death sentence on him. This Secretary Perez had some underhanded affaire with the Princess of Eboli, so he started another rumor that Philip and had an adulterous affair with her. The Princess was dead by that time.

I had come to El Escorial to see an extraordinary Don Carlos but I had seen almost every new thing before. The singing was excellent and the orchestra too. It was a little too much to hint as Elisabeth and Carlos had been childhood friends in the figurines. Eboli looked like historical Eboli with her eye patch. Elisabeth de Valois looked like her historical portrait, same with Philip II but Don Carlos looked too mature but sounded young enough. Don Carlos was unattractive buy the voice was divine.

This was the 4 act Italian version played in the 3 pieces. I love this version but then Rodrigo dies, LACRYMOSA. Until Lacrymosa we have drama going on and working wonderful but then we have "the wonder father-son duet". But it is so illogical and it doesn't fit. Drama just stop up, hi belcanto for no reason, and the scene with fizzles away.

Last act and also the whole opera quietly fizzles away with unnecessary "Carlo il grande imperatore".

OD Travel & Photos
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July 25, 2013: Nabucco in Verona

2013-07-25 Nabucco (Verdi), Arena di Verona 

Nabucco = Ivan Inverardi
Ismaele = Lorenzo Decaro
Zaccaria = Vitalij Kowaljow
Abigaille = Lucrecia Garcia
Fenena = Sanya Anastasia
High Priest of Belo = Abramo Rosalen
Abdallo = Carlo Bosi
Anna = Maria Letizia Grosselli

Julian Kovatchev, conductor

Director - Gianfranco de Bosio

Set - Rinaldo Olivieri

I loved this production. All seamed so historial correct. And then we had this wonderful Abigaille, Lucrecia Garcia. She really made it all so perfect. Nobody shone like her in this show. Of course, it would not have worked without the other singers, the chorus and orchestra w/conductor. I love Abigaille!!! Lucrecia Garcia is certainly a singer I would love to see and hear more.

OD Travel & Photos
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July 25, 2003: Jose Cura in Munich

2003-07-25 Opera Concert, Gasteig Munich

Jose Cura, tenor & conductor

Tullio Gagliardo, conductor

I came to Munich on the day of the concert. After first getting to my hotel, and a nice hot shower, my first task was to find the venue. GASTEIG. And after looking here and there I also found out which building the hall itself was in. The hall was called Philharmonie. After getting something to eat, Stachus McDonalds I was back in time, more people was there, some in gala dress other more normally dressed.

I meet Yvonne, my Swiss friend, and by a coincidence our tickets showed that we sitting next to each-other. Met more Cura fans later. The hall was not totally packed, it was some empty seats here and there. Then the orchestra members came in, not in a very orderly fashion, but they played beautifully, it is after all a professional opera orchestra.

The sound of a harp, and Cura is singing Deserto sulla terra from Trovatore, beginning from offstage, and coming in singing.
Giuseppe Verdi:
IL TROVATORE - Deserto sulla terra
Jose Cura, tenor Tullio Gagliardo, conducts
"Guten Abend" . He conducts a wonderful interpretation of the Overture of Nabucco.
NABUCCO - Ouverture
Jose Cura, conducts
The other conductor comes in, he gets a big hand from the audience. And the wonderful aria that Corrado sings in the beginning of the opera Corsaro, is almost perfectly sung by Cura. The orchestra is very good in following Cura and Gagliardo
IL CORSARO - Ah si, ben dite...Tutto parea sorridere
Jose Cura, tenor Tullio Gagliardo, conducts
An ovation of applause, at the moment when the applause is lessening, one suddenly hears Cura's voice "O figli, o figli miei". It seem to the utterly shattering for Cura to sing this immensely sad aria. A man grieving the loss of his children and his wife. My fatherly hand was not there to protect you, my children dying, crying after their father. José Cura must have really dug into the feeling, a family man himself. BRAVO Cura!
MACBETH - O figli...Ah, la paterna mano
Jose Cura, tenor Tullio Gagliardo, conducts
After a short while Cura came back alone to conduct the overture from La Forza del Destino, a fiendishly difficult piece to conduct. The twist and turns of the music, the different dynamics. But my impression is very good. Cura is a good conductor. Even if this orchestra naturally must have done this piece many times, without a good conductor, they would get lost here.
Jose Cura, conducts
My favorite aria, conducted by Gagliardo, sung by Cura. A wonderful clarinettist sets the feeling/emotion on the right spot. The best La vita e inferno/O tu che in seno agli angeli, ever. Everybody was overwhelmed by this aria.
LA FORZA DEL DESTINO - La vita è inferno
Jose Cura, tenor Tullio Gagliardo, conducts
Tullio Gagliardo back onstage to conduct Intermezzo from Pagliacci, I could not understand why. I thought Cura would conduct all the instrumental pieces. But then I understand the intermezzo goes straight over to Vesti la giubba, which Cura really being Canio there. He starts on the floor, sitting on the stage. It is really wonderfully operatic
Ruggiero Leoncavallo:
I PAGLIACCI - Intermezzo / Vesti la giubba
Tullio Gagliardo, conducts Jose Cura, tenor


Again another wonderful clarinet-solo starts yet another wonderful aria sung by José Cura. Beautifully done. A masterpiece.
Giacomo Puccini:
TOSCA - E lucevan le stelle
Jose Cura, tenor Tullio Gagliardo, conducts
José Cura starts before we are finished applauding a perfect E Lucevan le stelle, and he launches into a passionate and desperate Addio, fiorito asil from Madama Butterfly. A very short aria, but Cura put all into it. What a concert!
MADAMA BUTTERFLY - Addio, fiorito asil
Jose Cura, tenor Tullio Gagliardo, conducts
What a surprise Le Villi in the program. Naturally I would have love Cura to sing the long aria from Le Villi. But to experience him conducting the Witch Dance from Le Villi was also great. A bit short, though. More, please!!!!
LE VILLI - La tregenda
Jose Cura, conducts
Puccini's music is never more modern than in Il Tabarro, and this is very verismo and dark. Cura actually managed to make this opera aria, dark and almost disharmonic into one of my favorites. Not when I listened to it in the Puccini CD, but here in Munich July 25th, 2003. BRAVO!!
IL TABARRO - Hai ben ragione
Jose Cura, tenor Tullio Gagliardo, conducts
Water bottle to the stage. "It is hot"... "Why do we have to be dressed like Penguins, we should be doing it in jeans and T-shirts"..."Let's give another one, Maestro!" And the he starts with a wonderful rendition of Non piangere, Liú!!!
TURANDOT - Non piangere, Liú
Jose Cura, tenor Tullio Gagliardo, conducts
And as the end of the official program, the Argentine aria from Aurora, the song of the Argentine flag. He never does a less than perfect rendition of the aria. After all, he is a proud Argentine. Naturally it is in Spanish.
Hector Panizza:
AURORA - Intermezzo epico
Jose Cura, tenor Tullio Gagliardo, conducts


1. Puccini: MANON LESCAUT - Tra voi belle, brune, bionde
Jose Cura sings and conducts, the violinists use their violins as guitars. Cura tells that in Regensburg 2 days ago, the musicians were acting as students (Manon Lescaut, act 1), doing the middle section Ha Ha, laughing. "But this is such a serious place"

2. Brahms: Ungarische Tanz. Jose Cura, conducts I thought it was Liszt Hungarian Rhapsody or something. But in Verona after Carmen on July 29, Cura told me it was Brahms Hungarian Dances.

3. Puccini: TURANDOT - Nessun dorma
Jose Cura, tenor Tullio Gagliardo, conducts
Before Cura sang Nessun dorma he told us that "2 hours ago I got a telephone from Verona, they want me sung 2 more Turandot, so tomorrow I must sing Turandot in Verona... But, you know, I am tired" He did sang Turandot on July the 26th, the day after this concert. He was also due to sing the last on August the 2nd, but at last the toll on Jose did get on him, so Cura got sick, and another tenor replaced him.

End of concert, but Jose Cura has to do some signing and being photographed for almost an hour, before he can go... It was 2300 when he left, and I and bunch of other Cura fans, sat a long time together in a restaurant not far from the Gasteig. So it was really late when I came back to my hotel. But since I was luckily persuaded by my wonderful Swiss friend to take a taxi, I was there a bit over 1 in the night. I would have loved to see Turandot again with Cura, this time maybe the complete opera, with the complete love-duet. But I thought, I save money and my poor head... I'll rest tomorrow.

Bravi tutti!

Bravo, Jose Cura!

OD Travel + Photos

Monday, July 24, 2017

July 24, 2013: Il Trovatore in Verona

2013-07-24 Il Trovatore (G. Verdi), Arena di Verona

Count of Luna = Dalibor Jenis
Leonora = Leah Crocetto
Azucena = Andrea Ulbrich
Manrico = Carlo Ventre
Ferrando = Sergej Artamonov
Ines = Elena Borin
Ruiz = Paolo Antognetti
An old gipsy = Victor Garcia Sierra
A messenger = Cristiano Olivieri

Giuliano Carella, conductor

Director and sets designer - Franco Zeffirelli
Costumes - Raimonda Gaetani
Choreography - El Camborio ripresa da Lucia Real
Fencing master - Renzo Musumeci Greco

IL TROVATORE, Arena di Verona 2013-07-24.

Trovatore was finally set in the right time. The Middle Ages. The great towers was on the stage. Like in Macerata it was played as a 2 act opera. Scene changes was smooth. Extra music was added for the zingaras, and there was castagnettes and much dancing. The zingaras and their dancing and music also came to the Di Luna men and their siege.

OD Travel & Photos
Original blog post

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July 24, 2010: Agnes Baltsa in Munich

2010-07-24 Liederabend Agnes Baltsa, Bayerische Staatsoper (Munich)

Agnes Baltsa, mezzo
Achilleas Wastor, piano

The recital was wonderful. Prinzregententheater is much smaller than Nationaltheater and it was completely full. Agnes Baltsa is very popular in Munich. But the small size and with so many people meant that it was warm and the air inside became thick especially by the the second part. The pianist was sweating. The piano was suffering. And even Agnes Baltsa got tired in the end. But she still sang not only the whole program but her 2 encores: Garifollo st'afti, and "Stay with me" by a famous Greek composer named K(something). Agnes Baltsa told me herself the meaning of the song (or tried to) and said the composer's name (but sadly I don't remember more of it).

Mános Hadjidákis (*1925 Xanthi - †1994 Athen)
(Klavier solo)

Stavros Xarhákos (*I939 Athen)
Áspri méra ke ja mas (Es werden glücklichere Tage kommen, auch für uns)

Míkis Theodorákis (*1925 Khios)
To tréno févgi stis ochtó (Der Zug fährt um acht ab)

Mános Hadjidákis
Óniro pedión tis gitoniás (Die Träume der Nachbarskinder)

Vassílis Tsitsánis (*1915 Trikala - †1984 London)
Horisam’ ena dilino (Und eines Tages hatten wir uns auseinandergelebt)
Sinefiasmeni kiriaki (An einem regnerischen Sonntag)
(Klavier solo)

Stavros Xarhákos
Stou Óthona ta hrónia [Zur Zeit von König Otto)
Háthike to fegári (Der verlorene Mond)

Vassílis Tsitsánis
Archóntissa (Meine Edelfrau)
Ta kavourákia (Die Krabben)

---- PAUSE ----

Míkis Theodorákis
Hartaetí (Drachensteigen)
(Klavier solo)

Spíros Peristéris (*1900 Smyrna - †1966 Athen)
Mes ston ondá enós Passá (Im Privatgemach eines Paschas)

Mános Hadjidákis
O tachitrómos péthane (Der junge Postbote starb)

Stavros Xarhákos
To praktorío (Die einsame Station]

Mános Hadjidákis
Nihterino (Nocturne)
Megali sousfa
(Klavier solo)

Stavros Xarhákos
Varkaróla (Barkarole)

Mános Hadjidákis
Páme mia wólto sto fegári (Spazieren wir zum Mond)

Stavros Xarhákos
Nin ke aí (Jetzt und für immer)

The Pianist only smiled when Agnes Baltsa was taking the bow with him. Alone he often looked stern. Agnes Baltsa was all smiles. Even to the man in the front row who took many photos even when she was singing. This time she really enjoyed the photographs being taken, and what a treat that was. And then even a Signierstunde, things could not be better.

OD Travel + Photos

Original blog post: Agnes Baltsa: "Stay with me" by K, regrets or no?

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July 24, 1985: Fledermaus in Vienna (Volksoper in der Staatsoper)

1985-07-24 Die Fledermaus (Johann Strauss), Wiener Staatsoper

Gabriel von Eisenstein, Rentier = Harald Serafin
Rosalinde, seine Frau = Mirjana Irosch
Frank, Gefangnisdirektor = Karl Dönch
Prinz Orlofsky = Claudia Eder
Alfred, Gesangslehrer = Richard Karczykowski
Dr. Falke, Notar = Russell Smythe
Dr. Blind, Advokat = Heinz Hellberg
Adele, Stubenmädchen = Ilonka Szep
Ida, ihre Schwester = Guggi Löwinger
Frosch, Gerichtsdiener = Ossy Kolmann

Franz Bauer- Theussl, conductor

The Wiener Volksoper in the State Opera. The difference with Volksoper and Staatsoper is not just the ticket price, it is status, and it is repertory and language. Volksoper gives operetta and opera in German language. The Staatsoper gives opera in the original language, it was not always so but always was Staatsoper big brother and Volksoper little brother. In recent years only Jánácek's Jenufa was played in Staatsoper in another language as the original (Czech) in German.

And also in Fledermaus we couldn't understand the Austrian jokes. But it was wonderful.

OD Travel

Sunday, July 23, 2017

July 23, 2014: Josep Carreras in Dalhalla, Sweden

2014-07-23 The Legendary Tenor José Carreras, Dalhalla, Sweden 

José Carreras, tenor
Simge Büyükedes, soprano

Stockholm Concert Orchestra

David Giménez, conductor


On July 23rd, 2014 is it exactly 20 years since Birgit Nilsson opened the first Dalhalla festival with her concert. So this is the Jubilee Concert for Dalhalla. Josep Carreras was chosen to do the special Jubilee Concert as he is now a legend himself. Many years ago he sang with Birgit Nilsson in Tosca (in the US) and she refered to him as "her baby Cavaradossi".

Simge Büyükedes was the unknown quantity in this concert and she was the one who sang opera arias in the concert, the famous ones from Rusalka and La Wally. She was born in Istanbul, Turkey. A wonderful soprano voice that is like velvet. The weather that had threatened the concert with thunders, lightnings and heavy rains that luckily stopped in time of the concert begin at 2100 might have had an effect on her voice as it in the second half seemed to loose some of the strength. A slight cold could be hard on the voice. Josep Carreras was as he is nowadays a strong voice but not so subtle as when he was younger, no wonder when the man is over 67 years old. Nevertheless this was a party of well song canciones, musical tunes, zarzuela and opera arias. The Majesties of Sweden was there. And there were encores and Bravos and Bravas. The man holding it all together was David Gimenez conducting STockholm Concert Orchestra.

1. Verdi: NABUCCO - Ouverture (Orchestra)
2. Donizetti: Te voglio bene Assaje (Carreras)
3. Tosti: L'ultima canzone (Carreras)
4. Dvorak: RUSALKA - Song to the Moon (Büyükede)
5. Albeniz: El eco de tu voz (Carreras)
6. Rubas: Rosó - pel teu amor (Carreras)
7. LA WALLY - Ebben ne andro lontana (Büyükede)
8. Bizet: L'Arlesienne suite - Farandole (Orchestra)
9. Leigh: THE MAN OF LA MACHA - The Impossible Dream (Carreras)

10. Rendine: Vurria (Carreras)
11. Valente: Passione (Carreras)
12. Delibes: Les filles de Cadiz (Büyükede)
13. Satie: Je te veux (Carreras & Büyükede)
14. Jimenez: LA BODA DE LUIS ALONSO - Intermedio (Orchestra)
15. Barbieri: EL BARBERILLO DE LAVAPIES  - Cancion de Paloma (Büyükede)
16. Caballero: EL DUO DE LA  AFRICANA - Duo y Jota (Carreras & Büyükede)
17. Cardillo: Core n'grato (Carreras)


1. Gitarra Romana (Carreras)
2.  I Could Have Danced All NIght (Büyükede)
3. Non ti scordar di me (Carreras & Büyükede)
4. Torna a Surriento (Carreras)

5. Libiamo ne lieti calici (Carreras & Büyükede)

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July 23, 2013: La Traviata om Verona

2013-07-23 La Traviata (G. Verdi), Arena di Verona 

Violetta Valéry = Elena Mosuc
Alfredo Germont = Matthew Polenzani
Giorgio Germont = Artur Rucinski
Flora Bervoix = Chiara Fracasso
Annina = Alice Marini
Gastone = Stefano Consolini
Baron Douphol = Federico Longhi
Marchese D'Obigny = Dario Giorgelè
Doctor Grenvil = Victor Garcia Sierra
Giuseppe = Antonio Feltracco
Domestico/Commissionario = Gabriele Ribis

Andrea Battiston, conductor

Director, sets, costumes and lighting designer - Hugo De Ana

Choreography - Leda Lojodice

LA TRAVIATA, Arena di Verona 2013-07-23

Traviata and Trovatore, two of the greatest classics of Opera. And in Verona, finally Regie that is true and real. Hugo de Ana's Traviata had only one fault, in preludio to the opera and the preludio to the last act, he just had to remind us that Violetta is dead and everything is to be told. 3 great frames (like to old paintiings) was the stage. The middle frames was naturally the main stage. But it was still true to the time of Violetta. Loved it, and Elena Mosuc was great as Violetta!!

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July 23, 1995: Josep Carreras in Aarhus, Denmark

1995-07- 23 Opera Galla, Århus idrætspark

Sissel Kyrkjebø, singer
Ilona Tokody, soprano
Josep Carreras, tenor

David Gimenez, conductor


Århus (NTB-RB): Sissel Kyrkjebø deltok sammen med verdensstjernene Jose Carreras fra Spania og Ilona Tokody fra Ungarn på en operagalla i Århus søndag kveld. Dronning Margrethe og flere tusen tilhørere var til stede under friluftskonserten i Århus Idrætspark. Sissel innledet forestillingen med blant annet Griegs "Solveigs sang", "Summertime" fra Gershwins opera "Porgy and Bess" og "Climb every mountain" fra musicalen "Sound of Music".

Vel er vår sangfugl gift med en danske og populær i Danmark, men de fleste tilhørerne som hadde rigget seg til med tepper, vin og kaffekanner i den litt kjølige Århuskvelden, var nok først og fremst kommet for å høre den spanske supertenoren Carreras.

Ikke mindre enn fem ekstranumre måtte de tre sangerne gi. Carreras måtte nok holde sin store stemme litt igjen under det aller siste nummeret sammen med de to kvinnelige solistene, vennsskapssangen fra OL i Barcelona 1992.

Idrætsparkens 75-års jubileumsfest ble avsluttet med et overdådig fyrverkeri.

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