The Swedish and Danish productions

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Re: The Swedish and Danish productions

Post  ML6 on Sun Nov 06, 2011 4:13 am

operafantomet wrote:
ML6 wrote:I need a damn laptop bag. That looks perfect. But I had a bag that was once made out of that kind of fabric and it ripped.

Is the outer fabric the same as the fabric lining the inside of the bag? Do they still sell them?
I bought the last one... Smile They had one on display even after they were sold out. So I convinced the souvenir stand seller that there was no point in displaying it when they had no more items to sell. People would only get annoyed, ya know... That said, they might have put away a few of them for archival use, or found some in a box in their stock room or whatever. It never hurts to ask. You could ask them at their official FB site, where they tend to be quick with replies: http://www.facebook.com/detnyteater

The fabric is actually very solid. It seems to be made of two layers sandwiched together. I was more concerned about the seams, so I whipstitched some of the exposed corners. No damages there yet. But as mentioned, the shoulder strap (or rather the plastic parts clipping the strap to the bag) is not the best. I want to replace the whole strap. It has a little handle at the top of the bag, though, for carrying it in the hand. I like that one.

But ideally I would love this type of bag in a thick, coarse canvas. Very Happy

Danke, lady. I just get so angry when I buy certain bags that SAY they're durable, and then I get angry when they rip. I'll message them soon, thanks for the info.

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Re: The Swedish and Danish productions

Post  Lalilaloli on Sun Jan 29, 2012 12:55 pm

Did they ever release a Danish recording?

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Re: The Swedish and Danish productions

Post  operafantomet on Sun Jan 29, 2012 1:12 pm

Lalilaloli wrote:Did they ever release a Danish recording?
Alas, no. Sad The expenses were too big. They did send out the title song with Flemming Enevold and Susanne Elmark to a couple of radio stations, but it was never officially released. I was lucky enough to get it recorded while it aired one time, so I have it. But the recording quality is kinda dubious.

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Re: The Swedish and Danish productions

Post  Lalilaloli on Sun Jan 29, 2012 1:54 pm

Too bad Sad . I've heard a couple of short pieces from the Danish production and it seemed really good.

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Re: The Swedish and Danish productions

Post  Scorp on Sun Jan 29, 2012 6:49 pm

Lalilaloli wrote:Too bad Sad . I've heard a couple of short pieces from the Danish production and it seemed really good.

I thought the Danish production was superb. Phantom always has been shortchanged in the cast recording department compared to Miz. I wonder why that is. So many countries that should have made recordings never did. Of all of them, the two I really wish made recordings were this production and the original Australian production.

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Re: The Swedish and Danish productions

Post  AlwaysChristine on Mon Jan 30, 2012 9:18 am

Scorp wrote:
Lalilaloli wrote:Too bad Sad . I've heard a couple of short pieces from the Danish production and it seemed really good.

I thought the Danish production was superb. Phantom always has been shortchanged in the cast recording department compared to Miz. I wonder why that is. So many countries that should have made recordings never did. Of all of them, the two I really wish made recordings were this production and the original Australian production.

How they choose which country and which cast will have their own recording, why highlights and then a complete recording?

I wished they had made a full recording from the Netherland cast. I wish the same as you, I want a Danish and Australian one!

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Re: The Swedish and Danish productions

Post  operafantomet on Mon Jan 30, 2012 12:53 pm

SweetChristine wrote:
Scorp wrote:
Lalilaloli wrote:Too bad Sad . I've heard a couple of short pieces from the Danish production and it seemed really good.

I thought the Danish production was superb. Phantom always has been shortchanged in the cast recording department compared to Miz. I wonder why that is. So many countries that should have made recordings never did. Of all of them, the two I really wish made recordings were this production and the original Australian production.

How they choose which country and which cast will have their own recording, why highlights and then a complete recording?
The Really Useful Group has only been producing for one production; the Swiss one. In other countries it's a local production company and/or theatres who producting the show, and their economy determines whether a cast album is made or not, and whether it's a highlight or not. The first productions considered a cast album prestigious, but since the mid 90s it seems cast albums are made only in rare cases.

There's also circulated a rumour about a point in the original contract of Crawford and Brightman; that no other double-disc cast album should ever be made. I have never seen this confirmed anywhere, but it could explain why there's only been released highlight CDs in English after the OLC one. The movie soundtrack and the concert album are interpreted as different from the actual stage show and therefore not a part of this contract. Or so say the rumours.

I wonder why more weren't recorded as the Swedish cast album, though, with several live recordings edited into a full CD. They had an exceptional good cast and orchestra, sure, but several productions has had that. And because of the live atmosphere it's one of my all time favourite Phantom CDs. I would love to hear a similar one from Las Vegas (which technically isn't the full show either) or the World Tour.

But yeah, I really mourn a CD was never made from the Copenhagen production. It was stellar. But you can't really ask a private theatre in a country with a population of 5,5 million people to finance such a project alone. I understand it, but I still mourn it.

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Re: The Swedish and Danish productions

Post  AlwaysChristine on Mon Jan 30, 2012 1:56 pm

[quote="operafantomet"]
SweetChristine wrote:
The Really Useful Group has only been producing for one production; the Swiss one. In other countries it's a local production company and/or theatres who producting the show, and their economy determines whether a cast album is made or not, and whether it's a highlight or not. The first productions considered a cast album prestigious, but since the mid 90s it seems cast albums are made only in rare cases.

There's also circulated a rumour about a point in the original contract of Crawford and Brightman; that no other double-disc cast album should ever be made. I have never seen this confirmed anywhere, but it could explain why there's only been released highlight CDs in English after the OLC one. The movie soundtrack and the concert album are interpreted as different from the actual stage show and therefore not a part of this contract. Or so say the rumours.

I wonder why more weren't recorded as the Swedish cast album, though, with several live recordings edited into a full CD. They had an exceptional good cast and orchestra, sure, but several productions has had that. And because of the live atmosphere it's one of my all time favourite Phantom CDs. I would love to hear a similar one from Las Vegas (which technically isn't the full show either) or the World Tour.

But yeah, I really mourn a CD was never made from the Copenhagen production. It was stellar. But you can't really ask a private theatre in a country with a population of 5,5 million people to finance such a project alone. I understand it, but I still mourn it.

Thank you for the information! You know so many things about the show.
Very interesting the rumours about the contract.

Oh yes I love so much more live recordings.
Complete recordings are Vienna, Sweden, Japan and Hungary beneath the OLC, movie and RAH concert.
The other movie soundtracks are also only highlights.

I heard a good version from Las Vegas. It was better than I thougt at the beginning.

Oh I understand why not everyone can finance a project like this but in danish Very Happy .
I want it...!

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Re: The Swedish and Danish productions

Post  operafantomet on Mon Jun 04, 2012 6:08 pm

A very interesting interview with Flemming Enevold from 2009. I'll translate the Phantom related parts into English in an own entry. In the mean time the Scandinavian folks over here can enjoy it.




EN INDRE MOTOR KØRER AD HELVEDE TIL MED MIG

I AFTEN sniger han sig ud af mørket fra Operaens underjordiske dyb. Vi skal høre hans martrede stemme. Ane hans vansirede ansigt. Flemming Enevold er tilbage i rollen som fantomet. The Phantom of the Opera. Det forpinte, poetiske dobbeltmenneske, der først forløses, da en ung sangerinde gengælder hans kærlighed. Rollen, han havde sit livs succes med for otte år siden.

Hvor har vi haft Enevold i de mellemliggende år?

Vi har fulgt ham gennem den personlige ruskregn og det teaterpolitiske lynnedslag, som for tre år siden bragte ham på avisforsiderne, da Gladsaxe Teater led skibbrud og chefen gik planken ud. Men så blev der stille.
Intet er så brutalt i teaterverdenen som den lukkede glemmebog.

Men pennen, der skulle indskrive Enevold i bogen, nægtede. Vi har hele tiden anet Enevold i periferien, set ham dukke op i enkelte roller, på scenen, i film. Men uden ramaskrig. Ingen larmende genopstandelse. Ingen sensationer. Heller ingen katastrofer.

56-årige Enevold ligner uforvekslelig sig selv. Vi har lejret os i Det Ny Teaters kolde kongefoyer et par dage før premieren. Langt borte fra scenen hører vi Peter Jordes synge. Hovedrollen er besat med flere skuespillere, der skal skifte. Den er enormt krævende. Fysisk og psykisk.

Men Flemming Enevold er premierens fantom, og her sidder han, kækt slynget i lunende tørklæde. Og taler. TALER. Mit timelange bånd skrives bagefter ud til over tyve tætte A4-sider frem mod punktum. Han taler. Om nedture og opture, vrede og lykke, nerver og ro. Om svinestreger og sceneskræk. Om rastløshed. Meget om rastløshed.

”Det er som en indre motor, der bare kører ad helvede til med mig,” som han siger, da vi kommer ind på de kurser, han afholder på Teknologisk Institut sammen med retorikeksperten Anne Katrine Lund. Kurser, hvor erhvervsledere undervises i, hvordan de skal kommunikere med deres ansatte. Bruge stemmen rigtigt. Vejrtrækning. Artikulation. Taletempo. Han erkender selv, at hans eget taletempo er alt for hurtigt – når han ikke er på scenen. Men privat. Det er dér, den indre motor kører ad helvede til med ham.
Det er så det dirrer.

- Også nu?
”Det er min natur at være rastløs. Men jeg er blevet bedre til at styre rastløsheden. Mere rolig. Og mere ydmyg. Hvad man sikkert ville have ønsket, da jeg var på Gladsaxe Teater. Der er ikke mere den der ubændige trang til, at nu skal der kraftedeme ske en hel masse!

- Var det en lettelse at slippe Gladsaxe Teater?
”Jeg tror, det var med til at afklare og modne mig. Jeg var meget ked af det første år. Og vred. Jeg følte det hele var uretfærdigt. Jeg havde bare en dyb beslutning om, at jeg ikke ville være en bitter mand. Aldrig i livet. Hvis der skulle være noget selverkendelse – ud over den, jeg faktisk følte – så måtte det tage den tid det nu tog. Og i et par år holdt jeg mig lidt væk fra teater. Jeg syntes, jeg havde fået nok. Det var også noget privat. Jeg savnede mine børn og min familie. Det er jo på en måde socialt invaliderende at skulle af sted hver aften. Være på scenen, komme sent hjem og så storme op næste morgen til tusinde opgaver. Det var dejligt med en pause.”

- Det var dét, du blev bebrejdet: At du ville det hele. Være teaterchef, skuespiller, instruktør, forfatter. Have dit private firma ved siden af, som leverede tjenesteydelser til teatret.

”Der blev sagt og skrevet så meget sladder og sludder. Revisionsrapporterne viste, at alt var gået ordentlig til. Teatret var også solvent, da vi lukkede. Men det er rigtigt, at jeg var vanvittig ambitiøs med det teater. Også at jeg knoklede som en gal. Lige som Nikolaj Cederholm på Dr. Dante. Og Langdal på Betty Nansen. Og Preben Harris på Folketeatret. Man brænder som ind i helvede for at lave teater! Og så skal du vide, at for mig var der et krav. Som stod i min kontrakt. I alle seksten år. At jeg skulle spille mindst én rolle hver sæson. Sjovt nok: Der er aldrig nogen, der brokker sig over, når man er instruktør på sit teater. Kun når man er på scenen som skuespiller. Nej – dét, der var problemet, var den politiske svinestreg, der blev gjort mod teatret. De ville have det lukket. Det vidste jeg alt om. For jeg sad og var Brian Mikkelsens – uh, så gode ven i forskellige udvalg i ministeriet og skulle være formand for hans scenekunstudvalg. Der blev støbt mange kugler dér. Jeg vidste, at den dag amterne blev nedlagt, så ville de ikke have Gladsaxe Teater mere. Der var en kabale, der skulle gå op. Og så var det bare lige en kniv i ryggen. Sådan måtte det jo gå: Da socialdemokratiet mistede magten, mistede det politiske liv interessen for kulturlivet. De borgerlige har aldrig haft en kulturpolitik. Hvis du spørger mig.

- Men GladsaxeKommune…
”Gladsaxe Kommune!” Råber Flemming Enevold. ”En smålighed, som var det et menighedsråd oppe i Nordjylland! Ikke som da Tove Schmidt var borgmester. Hun forstod teatret. Havde kærlighed til det. Så kom der en anden. Hun kunne slet ikke håndtere det. Først da det var for sent, så skulle de pludselig redde teatret, efter at de ikke havde gjort en skid i flere år. Men ok. Hvis du skal være teaterchef i dag, skal du også være politiker. Det var jeg ikke god nok til. Du skal have tålmodighed til hele det embedsapparat. Den træghed! Det passer mit temperament ikke til. Jeg er bare vildt ambitiøs på teatrets vegne. Lige som de var i Gladsaxe på Erhardt Jakobsens tid. Man havde storhedsvanvid. Man drømte om ting og sager, gjorde fantastiske ting. Det var en mønsterkommune dengang!”

- Du blev selv beskyldt for storhedsvanvid…

”I perioder har jeg helt givet haft storhedsvanvid. Haft for store og vilde ambitioner. Hvor jeg glemmer at sige: ’Lille menneske! Du skal selv lige følge med. Og det skal omgivelserne også.’ Nu er jeg mere nede på jorden.”

- Hvordan er du kommet dét?
”Arbejde med mig selv. Træne. Meditere. Studere.”

- Studere hvad?
”Jeg er faktisk i gang med en uddannelse. Det er hos psykoterapeuten Ole Vedsted. Han kalder det kybernetisk psykologi. Det handler om, hvordan forskellige systemer spiller sammen, også i menneskets personlighed. Uddannelsen tager seks år, og jeg mangler de to sidste. Jeg er i gang med at skrive speciale. Bare kom an! Det er med eksamen og det hele. Også censorer. Bl.a. lederen af intensivafdelingen på Rigshospitalet. Og psykiatere. Jeg har også i flere år selv undervist. I noget, jeg kalder Team Acting. Tolv-fjorten kurser om året for erhvervsvirksomheder. Og så på Teknologisk Institut, hvor jeg sammen med Anne Katrine Lund har et fast kursus, der hedder ’Retorik – tag ordet i din magt’.”

- Det lyder voldsomt. Har dét givet dig tjek på rastløsheden?
”Det kan du tro. Og det har været nødvendigt. Det er jo noget i mig, der ligger langt tilbage. Helt tilbage til min barndom. Jeg blev smidt ud af skoler, fordi jeg var enormt urolig og blev sendt til skolepsykolog. Da jeg var nitten, fik jeg første gang stillet diagnosen: Maniodepressiv. Deraf min rastløshed. Og min ustandselige opposition til al ting. Da jeg var på Det Kgl. og havde masser af store roller, eksploderede jeg pludselig og gik til skuespilchefen Lone Bastholm og sagde op. ’Har du fået en kæmpe filmrolle?’ Spurgte hun. Næh, jeg skal til Aalborg. Hun troede, jeg var sindssyg. Jeg var bare rastløs. Maniodepressivitet handler også om nervøsitet. Jeg har altid været meget nervøs. Også når jeg skal optræde. Sceneskræk og præstationsangst. Den der underlige dobbelthed: Samtidig skulle jeg jo kraftedeme op på den scene!

Sådan havde Ingeborg Brams det også. Min yndlingsskuespillerinde, da jeg var ung. Men det er hårdt for ens liv og nervesystem. Jeg har set mange i mit fag, der har løst nervøsiteten med sprut. Det bliver aldrig mig. Uanset, hvor rastløs jeg kan være.”

- Og splittet, ikke? Dine største succeser er splittede personer: Cyrano, H.C. Andersen, Othello, Dr. Jekyll. Og nu The Phantom. De apellerer til noget i dig selv.
”Det er nok noget i mit væsen, at jeg er optaget af den dualitet. Den slags roller, jeg bliver spurgt om – mennesker, der er venlige, tilforladelige, lyriske på ydersiden, men så bor der en djævel inden i. Jeg laver også sådan en person i en Rumle Hammerich-film lige nu for Nordisk Film. Det er nok forankret i min personlighed.”

- Og i din opdragelse?
”Jeg er opdraget med samvittighed, skyld og skam. Det må jeg sige. Meget kristent. Ikke så meget af min far, der var arkitekt og et kunstnerisk menneske. Flamboyant og udadvendt. Men min mor, som var translatør, var… meget disciplineret. Meget kristen. Og moralsk. Jeg er opdraget efter strenge regler. Der var ikke rigtig plads til samvær, fordybelse og intimitet. Ikke det, der lignede! Og det kristne forstod jeg aldrig. Alle talte så meget om kristne holdninger. Men deres adfærd over for andre mennesker – den var ikke særlig kristen eller kærlig. Et mærkeligt modsætningsforhold. Det syntes jeg allerede som barn. Måske er det derfor, jeg selv er blevet så fuld af modsætninger.”

- Og alid har gjort oprør. Været i opposition.
”Ja, for satan. Det er nok dér, jeg har mit råstof. Alt det, som jeg også kæmper med. Da jeg gik ind i arbejdet med Brians kulturkanon, tænkte jeg f.eks.: Du skal være en voksen og ordentlig mand nu. Være med til selv at byde ind dér, hvor man syntes der var for meget idioti. Gå ind i kanonen for at sige: Ellers er der nogle andre idioter, der sidder der. Men set i bakspejlet synes jeg, det var en tåbelig idé. Man blev alligevel, om man så ville eller ej, spændt for en ideologisk vogn. Jeg ville aldrig have medvirket til det i dag. Dengang var det et led i min strategi at prøve at være lidt voksen.”

- Men i dag fortryder du?
”Ja, jeg gør. Jeg ville aldrig have medvirket til den kanon i dag. Men man skal aldrig fortryde. Det er som Kierkegaard skrev: ’Livet må leves forlæns og forstås baglæns’.”

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Re: The Swedish and Danish productions

Post  operafantomet on Mon Jun 04, 2012 6:51 pm

As usual, ignore typos and bad English, I'm stunt translating.



EN INDRE MOTOR KØRER AD HELVEDE TIL MED MIG
AN INNER MOTOR IS DRIVING ME TO HELL

I AFTEN sniger han sig ud af mørket fra Operaens underjordiske dyb. Vi skal høre hans martrede stemme. Ane hans vansirede ansigt. Flemming Enevold er tilbage i rollen som fantomet. The Phantom of the Opera. Det forpinte, poetiske dobbeltmenneske, der først forløses, da en ung sangerinde gengælder hans kærlighed. Rollen, han havde sit livs succes med for otte år siden.
Tonight he sneaks out of the dark of the underground depths of the Opera. We'll hear his tortured voice. Sense his deformed face. Flemming Enevold is back in the role of the Phantom. The Phantom of the Opera. The anguished, poetic double human who is redeemed only when a young singer returns his love. The role he had he success of his life with eight years ago.

Hvor har vi haft Enevold i de mellemliggende år?
Where has he been in the mean time?

Vi har fulgt ham gennem den personlige ruskregn og det teaterpolitiske lynnedslag, som for tre år siden bragte ham på avisforsiderne, da Gladsaxe Teater led skibbrud og chefen gik planken ud. Men så blev der stille.
We've followed him through hard times in his personal life and the theatre-political shock which brought him to the cover of all the news papers when Gladsaxe Theatre was shipwrecked and the boss had to walk the plank. But then there were silence.

56-årige Enevold ligner uforvekslelig sig selv. Vi har lejret os i Det Ny Teaters kolde kongefoyer et par dage før premieren. Langt borte fra scenen hører vi Peter Jordes synge. Hovedrollen er besat med flere skuespillere, der skal skifte. Den er enormt krævende. Fysisk og psykisk.
56-year old Enevold looks unmistakably like himself. We've seated ourselves in the cold Royal Foyer a couple of days before the opening night. In the distance we hear Peter Jorde sing on stage. The lead role is shared between different actors. It's tremendously demanding. Physically and mentally.

Men Flemming Enevold er premierens fantom, og her sidder han, kækt slynget i lunende tørklæde. Og taler. TALER. Mit timelange bånd skrives bagefter ud til over tyve tætte A4-sider frem mod punktum. Han taler. Om nedture og opture, vrede og lykke, nerver og ro. Om svinestreger og sceneskræk. Om rastløshed. Meget om rastløshed.
But Flemming Enevold is the Phantom at the opening night. And here he sits, boldly draped in a warm scarf. And he's talking. TALKING. My hour-long tape is later transcribed into 20 densely written A4 pages. He's talking. About ups and downs, anger and happiness, nerves and calms. About dirty tricks and stage fright. About restlessness. A lot about restlessness.

”Det er som en indre motor, der bare kører ad helvede til med mig,” som han siger, da vi kommer ind på de kurser, han afholder på Teknologisk Institut sammen med retorikeksperten Anne Katrine Lund. Kurser, hvor erhvervsledere undervises i, hvordan de skal kommunikere med deres ansatte. Bruge stemmen rigtigt. Vejrtrækning. Artikulation. Taletempo. Han erkender selv, at hans eget taletempo er alt for hurtigt – når han ikke er på scenen. Men privat. Det er dér, den indre motor kører ad helvede til med ham. Det er så det dirrer.
"It's like an inner motor is driving me to hell", as he puts it when our conversation turns towards the lectures he gives at The Technological Institute with Anne Katrine Lund. Lectures, where business leaders are trained in how to communicate with their employees. Use their voice right. How to breathe, articulate. Tempo of speech. He admits his own tempo is way too hasty - when he's not on stage. But in his private life. It's there the inner motor is driving him to hell. It's like it's (he's?) vibrating.

(...)

- Hvordan er du kommet dét?
”Arbejde med mig selv. Træne. Meditere. Studere.”

-How did you end up here? (he's told he's become a calmer, more harmonic person)
"By working with myself. Exercise. Meditate. Study."

- Studere hvad?
”Jeg er faktisk i gang med en uddannelse. Det er hos psykoterapeuten Ole Vedsted. Han kalder det kybernetisk psykologi. Det handler om, hvordan forskellige systemer spiller sammen, også i menneskets personlighed. Uddannelsen tager seks år, og jeg mangler de to sidste. Jeg er i gang med at skrive speciale. Bare kom an! Det er med eksamen og det hele.

-Study what?
"I'm working on a proper education, with the psycho therapist Ole Vedsted. He calls it cybernetic psychology. It's about how different systems interact, also in people's personality. It's a six years education, I only lack to the two last ones. I'm writing my thesis. Bring it on! It's with exams and all. (...)"

- Det lyder voldsomt. Har dét givet dig tjek på rastløsheden?
”Det kan du tro. Og det har været nødvendigt. Det er jo noget i mig, der ligger langt tilbage. Helt tilbage til min barndom. Jeg blev smidt ud af skoler, fordi jeg var enormt urolig og blev sendt til skolepsykolog. Da jeg var nitten, fik jeg første gang stillet diagnosen: Maniodepressiv. Deraf min rastløshed. Og min ustandselige opposition til al ting. Da jeg var på Det Kgl. og havde masser af store roller, eksploderede jeg pludselig og gik til skuespilchefen Lone Bastholm og sagde op. ’Har du fået en kæmpe filmrolle?’ Spurgte hun. Næh, jeg skal til Aalborg. Hun troede, jeg var sindssyg. Jeg var bare rastløs. Maniodepressivitet handler også om nervøsitet. Jeg har altid været meget nervøs. Også når jeg skal optræde. Sceneskræk og præstationsangst. Den der underlige dobbelthed: Samtidig skulle jeg jo kraftedeme op på den scene!

-It sounds like a lot. And THAT has helped you with your restlessness?
"You bet. And it's been necessary. I mean, it goes way back. Back to my childhood. I was expelled from schools, because I was so restless, and was sent to school psychologists. When I was 19 I got my first diagnosis: bipolar disorder. Hence my restlessness. And my constant opposition to all things. When I was at The Royal Theatre and played lots of grand roles, I exploded and marched up to the actor boss Lone Bastholm and quit. "Have you gotten a large movie part?", she asked. "No, I'm going to Aalborg". She thought I was insane. But I was only restless. Bipolar disorder is also about nervousness. I've always been very nervous. Also when performing. Stage fright and anxiety of performing. But still the weird dichotomy: I just wanted to get up on that stage, goddamnit."

Sådan havde Ingeborg Brams det også. Min yndlingsskuespillerinde, da jeg var ung. Men det er hårdt for ens liv og nervesystem. Jeg har set mange i mit fag, der har løst nervøsiteten med sprut. Det bliver aldrig mig. Uanset, hvor rastløs jeg kan være.”
It was like that for Ingeborg Brams as well, my favourite actress when I was young. But it's hard for ones life and nerves. I've seen many in my business who's solved their nervousness with booze. That will never be me. No matter how restless I may be.

- Og splittet, ikke? Dine største succeser er splittede personer: Cyrano, H.C. Andersen, Othello, Dr. Jekyll. Og nu The Phantom. De apellerer til noget i dig selv.
”Det er nok noget i mit væsen, at jeg er optaget af den dualitet. Den slags roller, jeg bliver spurgt om – mennesker, der er venlige, tilforladelige, lyriske på ydersiden, men så bor der en djævel inden i. (...) Det er nok forankret i min personlighed.”

- And a divided soul, no? Your greatest successes has been characters with divided personalities: Cyrano, H. C. Andersen, Othello, Dr. Jekyll. And now The Phantom. They have to appeal to something within you.
"I'm sure there's something in my being interested in that duality. It's the kind of roles I'm asked to do - people who are friendly, reliable, lyrical on the outside, with with a devil inside. (...) It's probably rooted in my personality."

(...)

Men man skal aldrig fortryde. Det er som Kierkegaard skrev: ’Livet må leves forlæns og forstås baglæns’.”
One should never regret. It's like Kierkegaard wrote: Life can only be understood backwards, but it must be lived forwards.




(I should add that after this interview he's alway played Sweeney Tood (of course) and Jean Valjean)

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Re: The Swedish and Danish productions

Post  RatSalsa on Fri Jun 22, 2012 6:31 pm

Mikael Samuelson singing Nattens Musik (MOTN) at the Oscars Theatre 100 years anniversary. Might be the longest version of the song ever but it's still very cool since it's one of the few if not the only video of Mikael singing it.

http://www.youtube.com/watch?v=FNPogh1X6vY

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Re: The Swedish and Danish productions

Post  TheFinnishPhantom on Fri Jun 22, 2012 8:40 pm

RatSalsa wrote:Mikael Samuelson singing Nattens Musik (MOTN) at the Oscars Theatre 100 years anniversary. Might be the longest version of the song ever but it's still very cool since it's one of the few if not the only video of Mikael singing it.

http://www.youtube.com/watch?v=FNPogh1X6vY

*faints*

AWESOME.

That's all. Thank you so much for sharing! Very Happy

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Re: The Swedish and Danish productions

Post  EarlFan on Sat Jun 23, 2012 4:07 pm

RatSalsa wrote:Mikael Samuelson singing Nattens Musik (MOTN) at the Oscars Theatre 100 years anniversary. Might be the longest version of the song ever but it's still very cool since it's one of the few if not the only video of Mikael singing it.

http://www.youtube.com/watch?v=FNPogh1X6vY

Thanks for sharing! I haven't seen that video before. Very Happy

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Re: The Swedish and Danish productions

Post  RatSalsa on Thu Oct 25, 2012 2:23 pm

Hi again!

Does anyone have access to the Swedish Libretto or something? Since Seal My Fate isn't on the Cast Recording I'm very curious what Mikael sang.

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Re: The Swedish and Danish productions

Post  Little Lotte on Sun Feb 23, 2014 5:05 pm

Was POTO ever played in Norway? As far as I know, the only Nordic productions have been those in Stockholm and Copenhagen. Since Swedish, Danish and Norwegian are so close, I think the translations wouldn't be a big problem.
Don't you think POTO would sound gorgeous in Icelandic, BTW? I'm sure it would be so beautiful in that language!

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Re: The Swedish and Danish productions

Post  Scorp on Sun Feb 23, 2014 8:03 pm

Little Lotte wrote:Was POTO ever played in Norway? As far as I know, the only Nordic productions have been those in Stockholm and Copenhagen. Since Swedish, Danish and Norwegian are so close, I think the translations wouldn't be a big problem.
Don't you think POTO would sound gorgeous in Icelandic, BTW? I'm sure it would be so beautiful in that language!

It's never played in Norway, but I can think of at least one überfan from here would probably feel like she had gone to heaven if it (at least the Hal Prince production) ever did...

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Re: The Swedish and Danish productions

Post  RatSalsa on Wed Sep 14, 2016 7:43 pm



Magic!

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Re: The Swedish and Danish productions

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