Pagliacci & Il Tabarro



Joost Galema in NRC (four balls): "The audience was allowed to sigh under the oppressive heat, in the excavated orchestra pit and on stage, the game continued to sparkle with energy. The two female lead roles made their own sound and show their own face "In Pagliacci, Aylin Sezer sang a rebellious Nedda. Francis van Broekhuizen compared a disillusioned Giorgetta to Il Tabarro." 

Nell Westerlaken in the Volkskrant (four stars): "With her approach to the diptych, Corina van Eijk gives an interesting nuance to the concept of female unfaithfulness: adultery as a conscious choice or as an emotional flight. Movable is the scene in which Michele remembers a cool Giorgetta picks up at the time their child was still alive." 

Sander Decker in Trouw (two stars): "Some see her (Corina van Eijk) as a heroine who freed the opera from the tight straitjacket. Others are annoyed by the flat sex and the generous smile, the trademark of her performances. How director Corina van Eijk makes her mark, and with her unconventional direction she has made the annual Opera Spanga a success that has been going on for three decades and is even noticed abroad. (...) Francis van Broekhuizen (the unfortunate one) Giorgetta) and her opponent Marcel van Dieren (the deceived husband Michele) convincingly shaped their annoyed characters." 

Rudolf Nammensma in Leeuwarder Courant / Dagblad van het Noorden (four stars): "Prior to the disaster that occurs during the circus performance, in which the jealous director (powerfully portrayed by Morschi Franz) commits a double murder, Van Eijk costly with quasi -excited, erotic allusions and the suggestion of sex. Here the Philharmonie Noord sang under the direction of Tjalling Wijnstra."

Max Arian in Theaterkrant: "There is beautiful singing across the board. The orchestra, the Filharmonie Noord, plays beautifully and extremely expressively under the young conductor Tjalling Wijnstra. (...) Opera Spanga remains exciting, even when it goes on about two melodramas that are actually not that exciting anymore, but which in this combination seem to be able to say a lot about people and their problems." 

Dingeman van Wijnen in the Friesch Dagblad: "This year's performance is also affected by the purity of the emotion. (...) In any case, there is no moment in this production that you are distracted by lesser musical quality. Everything fits and convinces. Whether or not thirty years of opera in Spanga was and is groundbreaking, I don't know, but a musically convincing story that you send home as a listener full of images and thoughts and also full of tenderness and compassion, that pushes a boundary anyway."