<%@LANGUAGE="JAVASCRIPT" CODEPAGE="65001"%> Njål Sparbo - reviews

 

 

 

REVIEWS OF NJÅL SPARBO

Norwegian's compositions showcased
Three musicians, each uniquely devoted to Grieg, shared their artistry and intimate understanding and interpretations of selections infrequently heard. Bass-baritone Njål Sparbo lived up to his billing as one of Norway’s most versatile singers. In collaboration with pianist Einar Røttingen, Sparbo sang 10 songs with texts by German poets such as Heine, Chamisso, and even Goethe, each gifted with musical imagery and poetry on par with the best of Schubert or Schumann, the giants of this genre. Grieg’s prodigious talent produced lieder even more finely meshed with the intent of the words thanks to his inclination toward straightforward, perhaps more natural or rustic, expression that some tag as the Norwegian folk influence.
As the singer, Sparbo brings a multi-faceted character’s voice and splendid diction, making each song a high-impact soliloquy extracted from a drama. This is not easy to do. His exceptionally flexible voice which touched with a wisp of lament in the Dereinst, gedanke mein (One day, o heart of mine) or a hearty laughing boast in Der Jäger (The hunter,) held a story far beyond the text.
January 12th 2015, by Gayle Williams, Herald-Tribune Sarasota - LINK TO THE REVIEW

Bach - St Matthew passion in Oslo Cathedral
Oslo chamber music festival
Bulls eye beyond the context
Beyond of the context - and in August - a concert was performed that touched the roots of our hearts ... In the orchestra ... a violin series consisting of Arve Tellefsen (concertmaster), Stig Nilsson, Atle Sponberg and Stephan Barratt-Due ... inside the orchestra ... one of the world's leading tenors, Werner Gura, who had the role of the evangelist. Gura has a voice that after a few stanzas makes you excited about the next three hours with tenor splendor that binds the story together. Bass-baritone Njål Sparbo was no less compelling as Jesus ...
25.08.2014, Lars Flydal - Vårt Land - LINK TO THE REVIEW - IN NORWEGIAN

Oslo chamber music festival
Forbidden love and pain
Music with gripping stories and strong interpretations
Schoenberg - who, like Kurt Weill emigrated to the United States already in 1933 - loomed also the day before, when Njål Sparbo and a composite ensemble led by Kai Grinde Myran performed his bitter Ode to Napoleon Bonaparte from 1942. It explores persons of power with both intensity and nuances, and Sparbo had an able ear and voice ... He had already shown that he was a brilliant singer in three of Kurt Weill's most American war critical songs, toghter with Håvard Gimse.
25.08.2014, Astrid Kvalbein - Aftenposten - LINK TO THE REVIEW - IN NORWEGIAN

Handel : Faramondo / 2014 Händel Festpiele Göttingen
Njål Sparbo, in the bass role of Gustavo is known to Göttingen audiences from the 2012 performance of Esther. He pleased the audience again with his commanding presence, resonant low notes and flexible singing.
26.06.2014, Sandra Bowdler - Opera Britannia - LINK TO THE REVIEW

Handel's Faramondo at the Göttingen International Handel Festival 2014
... it is to Curran’s credit that he populated this slightly artificial, albeit naturalistic, stage world with convincingly portrayed individual characters in the best realistic, psychological tradition. Combined with carefully polished singing that nevertheless sounded incredibly fresh and as if ‘made up’ on the spot, it contributed to a fascinating identification of the audience with all the characters. Take the example of the typical bass villain, Gustavo, who at no point lost his humanity, although Njål Sparbo must have prepared for the role by an industrious study of Martin Scorsese films. Already in the recitatives his Italian sounded frightfully idiomatic, not to mention the terrifyingly menacing cries of ‘vendetta’ in his second and last aria, ‘Sol la brama’. The cruelty to his son Adolfo (countertenor Maarten Engeltjes) is obviously rooted in troubled family relationships, and was effectively contrasted with genuine disappointment at the treason of his right-hand man Teobaldo (baritone Edward Grint). Sparbo is only slightly older than the rest of the cast, and therefore highly improbable as Engeltjes’s biological father, but this did not detract from the production’s powers of persuasion, and shows the extent to which the soloists internalised their roles.
17.06.2014 - BSECS - LINK TO THE REVIEW

The singing shines in this insightful production of Handel’s opera
When an opera seria has more than six characters, its plot is invariably hard to parse. Handel’s late Faramondo has eight, which may account for its status as a rarity. The gifted young mezzo-soprano Emily Fons extracts all its poignancy and demonstrates ample vocal muscle in Faramondo’s more heroic utterances. Anna Starushkevych affectingly projects Rosimonda’s dilemma. In a symmetrical arrangement, Rosimonda’s brother, Adolfo, and Faramondo’s sister, Clotilde, love each other but have problems of their own, which are skilfully confronted by Maarten Engeltjes, a countertenor, and, especially, Anna Devlin, a soprano who shines in some sizzling arias, including one in which she bites into a take-away pizza before the final vocal section. Another countertenor, Christopher Lowrey, as the villainous Gernando, displays a dazzling technique when not taking sniffs from a stash of Rosimonda’s panties; Njål Sparbo is a solid Gustavo.
09.06.2014 - Finantial Times - LES HELE ARTIKKELEN

Faramondo triumphiert - Premiere der Internationalen Händel-Festspiele GöttingenBravorufe und stehende Ovationen – die Premiere der Oper Faramondo, die am 31.05. im Deutschen Theater im Rahmen der Internationalen Händel-Festspiele Göttingen stattfand, wurde vom begeisterten Publikum mit minutenlangem Applaus frenetisch gefeiert. Besonderen Beifall erhielt die junge Sängerin Emily Fons in der Titelpartie, die mit warmer, flexibler Mezzosopranstimme und stupender Stimmtechnik echte Starqualitäten bewies. Aber auch die anderen Mitglieder des Ensembles wurden stürmisch bejubelt: Anna Devin (Sopran) gab mit hinreißenden Koloraturkaskaden eine emotional zerrissene Clotilde, Anna Starushkevych mit klangschönem Mezzosopran die stolze Königstochter Rosimonda. Der Countertenor Christopher Lowrey verkörperte mit großer Bühnenpräsenz und atemberaubender Virtuosität den intriganten Gernando, sein Stimmfachkollege Maarten Engeltjes mit lyrischen Tönen den empfindsamen Königssohn Adolfo. Njål Sparbo (Bass) war ein stimmgewaltiger, wütender König Gustavo.
04.06.2014 - Klassik Heute - LINK TO THE REVIEW

Opernrarität in Göttingen: „Faramondo“ von Georg Friedrich Händel
Mit herrlichen Stimmen, die alle Schwierigkeiten der Rollen meisterten, wartete das exzellente Sängerensemble auf. In der Titelrolle bestach die amerikanische Mezzosopranistin Emily Fons sowohl stimmlich mit ihrer großen Bandbreite wie auch schauspielerisch durch ihr leidenschaftliches Temperament, das sie immer wieder auszuspielen verstand. Die Hosenrolle des Faramondo schien ihr auf den Leib geschrieben zu sein. Als Gegenspieler Gustavo setzte der norwegische Bassist Njål Sparbo sowohl seine starke Bühnenpräsenz wie seine oft gallig wirkende tiefe Stimme ein, die einen beinahe furchteinflößenden Charakter hatte.
31.05.2014 - Von Udo Pacolt - Online Merker LINK TO THE REVIEW

Musikalisches Feuerwerk im Intrigenstadl – Die Händelfestpiele in Göttingen graben „Faramondo“ aus und landen damit einen musikalischen Coup
Es ist einfach hinreißend wie der Festspielchef Laurence Cummings im Graben mit dem Festspiel Orchester Göttingen im Graben zaubert. Dieses Orchester, zu dem sich Barockspezialisten aus dem ganzen Land auf (Festpiel)Zeit zusammenfinden, gehört zum Besten, was die Szene zu bieten hat. So frisch und scheinbar leichthändig mit Verve und sensibler Einfühlung ins Melodische musiziert, zündet Händel allemal. Der Jubel des Premierenpublikums gab ihnen Recht. Und „Faramondo“ hat gute Chancen, auf der Hitliste der Händelopern deutlich nach oben zu rücken!
02.06.2014 - Von Joachim Lange LES HELE ARTIKKELEN

Händel macht glücklich: Oper „Faramondo“ in Göttingen
Die Idee trägt recht gut. Ein edles Kasino, prächtig gekleidete Frauen, die vierschrötigen Wachleute, die Maschinengewehre im Wandschrank, alles passt prima. Die italienische Sprache und eine ausgezeichnete Personenregie bis in die kleinsten Gesten hinein verstärken den Eindruck noch. Was will man mehr? Fehlt nur noch die musikalische Seligkeit. Sechs Haupt- und zwei Nebenrollen waren zu besetzen, und die Wahl kann man nicht anders als brillant nennen. Zwei großartige Countertenöre (Maarten Engeltjes als Adolfo und Christopher Lowrey als Gernando), drei ebenso überzeugende Frauenstimmen (Anna Devin als Clotilde, Emily Fons als Faramondo und Anna Starushkevych als Rosimonda) und mit Njål Sparbo als Gustavo ein wandelbarer Bassbariton machten das Sängerwunder perfekt, zu dem auch die beiden kleinen Rollen beitrugen. Händel kann glücklich machen.
Hessische/Niedersächsische Allgemeine
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Krieg im Casino
Paul Curran gelingt ein moderner Ansatz zu der recht abstrusen Handlung der selten gespielten Oper, der dramaturgisch aufgeht und durch präzise Personenregie überzeugt. Musikalisch und stimmlich lässt dieser Abend keine Wünsche offen.
31.05.2014 - Von Thomas Molke, Online Musik Magazin
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A glorious performance of Handel's forgotten oratorio.
Cummings’ orchestras always breathe together, feeling the sway and swell of Handel’s dance rhythms right through the body, and the Gottingen Festival Orchestra are no exception. Relishing his role as the villainous of the piece, Njal Sparbo’s Haman spat and hissed his way through his arias, reaching dramatic climax in a ferocious “Pluck root and branch” that matched Cummings’ brass for clarity and impact. A capacity audience for this comparatively obscure work paid tribute to the festival’s loyal following, and it would be hard to imagine anyone leaving disappointed with this persuasive performance. Cummings has the personality, warmth and energy so crucial to this most intimate of festival setups, and his bond with the musicians already seems well-established. Exuberance doesn’t stop at the concert hall doors in Gottingen, with the entire town in thrall to Handel’s music for two weeks each year. It’s an enthusiasm that is as infectious as it is justified.
Alexandra Coghlan, 21. mai 2012, New Statesman
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KONSERT: Handels «Esther»
Riesenbeifall: Auftakt der Händel-Festspiele mit „Esther“
Ein jugendlicher Sopran von fast schneidender Leuchtkraft kam von Sophie Junker (Israelite Woman), während Njål Sparbo dem zuerst brutalen, dann um Gnade flehenden Bassschurken Haman eine äußerst imposante Statur verlieh. Auch zwei Altisten waren in dem vorzüglichen Ensemble: Mehr als Daniel Taylor (Mordecai) nahm der kraftvolle Iestyn Davies (Ahasverus) ein, auch mit seinen Halleluja-Koloraturen im jubelnden Schlusschor. Riesenbeifall.
Von Georg Pepl, 20. mai 2012, Hessische/Niedersächsische Allgemeine
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KONSERT: Handels «Esther»
Festspiel Orchester Göttingen. Leitung: Laurence Cummings
Internationale Händel-Festspiele Göttingen
Die Entstehung einer neuen Gattung
Auch die Solisten lassen an diesem Abend keine Wünsche offen. Njål Sparbo stattet den Bösewicht Haman mit kräftigem Bass aus, der dem Hass des persischen Beamten auf die Israeliten in seiner Arie "Pluck root and branch from out the land", in der er die Vernichtung der Juden fordert und die Musik mit den abgehackten Tönen lautmalerisch die Ausrottung unterstützt, große Glaubhaftigkeit verleiht. Am Ende gibt er sich dann in der Arie "Turn not, O queen, thy face away" sehr demütig, wenn er Esther um Vergebung für die Intrige bittet. Doch nun zeigt sich Esther in ihrer folgenden Arie "Flatt'ring tongue, no more I hear thee!" ebenso kompromisslos wie Haman zuvor. Interessant ist, dass Händel Hamans letzter Arie nicht die übliche ABA-Form verleiht, sondern ihn nach dem B-Teil abbrechen lässt, vielleicht um auszudrücken, dass Hamans Flehen nicht ernst gemeint ist oder ihm kein Glauben geschenkt wird.
Von Thomas Molke, 17. mai 2012, Online Musik Magazin
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KONSERT: Bachs «Johannespassion»
Main-Barock-Orchester. Dir: Carl-Peter Chilla
Passion prächtig inszeniert
Vorzüglich, vom ersten Ton an, war die Präsenz des Tenors Max Ciolek, der mit seinem rezitativischen Erzählstil und der markanten Farbe seiner Stimme die Rolle des Evangelisten einnahm.
Nicht minder brillant war der norwegische Oratoriensänger Njal Sparbo, dessen Bass-Stimme die pathetische Erregung des Librettos noch steigerte.
Helmut Blecher, 2. april 2012
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CONCERT: HANDEL'S «SAUL»
London Handel Festival. London Handel Orchestra. Conductor: Laurence Cummings.
«London Handel Festival highlight»
The complex plot tracks the contrasts between the virtuous, loyal David and the lawless and vengeful Saul who eventually turns on both his son Jonathan, and David. Requiring comparatively large forces, by oratorio standards, both vocal and instrumental including 3 trombones, it is seldom performed. This was the first major work by Handel which featured a bass male lead, Saul, sung by the young modern-day Viking, Njål Sparbo, whose rich tones filled the Church with threatening menace and provided an unusual contrast with the more familiar Handelian tenor of his son Jonathan, sung by Nicholas Mulroy.
Travis, 17. april 2011
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CONCERT: HANDEL'S «SAUL»
London Handel Festival. London Handel Orchestra. Conductor: Laurence Cummings.
«Saul at the London Handel Festival»
Saul was Handel's first oratorio with a libretto by Charles Jennens. It is his first dramatic masterpiece in the genre but still doesn't get that many outings. Perhaps the slightly unwieldy cast list is a problem, though another more likely reason is the nature of the title role. Handel and Jennens created a psychologically aposite portrait of Saul, isolated from the rest of the cast and tortured, but the result of course is brilliant but not showy. Saul hardly gets any arias and communicates in recitative and accompagnato. In some performances this results in Saul being understated, but Njal Sparbo took the role with a vengeance. He was credibly commanding and quite fearsome when mad, completely rising above the rather limited playing area provided by St. Georges.
Robert H, 17. april 2011
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CONCERT: HANDEL'S «SAUL»
London Handel Festival. London Handel Orchestra. Conductor: Laurence Cummings.
«HANDEL'S SAUL»
Handel's 1739 oratorio Saul marked the composer's first collaboration with Charles Jennens, librettist for The Messiah. The dramatic biblical story of Saul's jealous rage against the young David, leading to madness and death, was written shortly after Handel himself had recovered from a breakdown. Among a fine cast, soprano Lucy Crowe as Saul's daughter Merab, countertenor Iestyn Davies as David, and Norwegian bass-baritone Njal Sparbo as Saul were outstanding. Laurence Cummings conducted with verve. A highlight of this year's Handel Festival.
Express, Clare Colvin, 17. april 2011
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OPERA: Håkon Berge: «The Bacchae» at Tha National Scene in Bergen
World Premiere, Bergen international Festival
«Magnificent Total-Art»
«The National Scene in Bergen presented the opera premiere of Håkon Berge's contemporary version of Euripedes' tragedy: "Bacchae". It gave us a glance into a drama where the humans are but clay in the hands of the gods. Two of the singers must be mentioned especially: Guri Egge as Dionysus and Njål Sparbo as King Pentheus.»
Hans Rossiné, Dagbladet
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CD: Franz Schubert's «Winterreise», Quattro, QCD 9306
Njål Sparbo & Einar Steen-Nøkleberg
«Winterreise»
«A very interesting production. The more you listen to it, the more nuances you find ... fantastic diction ... incredibly well presented! A magnificent recording, a splendid cover! This is really a production to be proud of!»
Kjell Hillveg, På sporet

CONCERT: Brahms: «Ein Deutsches Requiem»
«What a gift to get!»
«Brahms' Ein Deutsches Requiem filled the cathedral like a wave. In a state of supreme happiness we listened to the soloists Marianne Hirsti and Njål Sparbo when they completely unstrained let their voices flow on top of the massive, dark colours of the choir and orchestra.»
E.O. Syvertsen, Fædrelandsvennen

CD: Franz Schubert's «Winterreise», Quattro, QCD 9306
Njål Sparbo & Einar Steen-Nøkleberg
«Exemplary Sparbo, brilliant Schubert»
«... I must give him my unreserved congratulations to a recording which leaves you with a sense of loss from the moment it ceases. It is in fact not just the work itself that so strongly spellbinds the listener in me, it is equally Sparbo's interpretation ... Sparbo's German is exemplary, and with this CD he takes the step into the international arena. Winterreise is about giving up hope, writes Sparbo inside the cover, and contradicts himself musically the moment you hear the music from the loud speakers! Here is an art of singing that far from stands in the queue of hopelessness - and we listeners can only hope for more from the same source, winter or no.»
Espen Mineur Sætre, Morgenbladet
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CD: Franz Schubert's «Winterreise», Quattro, QCD 9306
Njål Sparbo & Einar Steen-Nøkleberg
«Njål Sparbo's Winterreise: a great event ...»
«... in the interpretation of Lieder in this country, which should also cause reactions outside Norway ... a fully developed and strong interpretation ... which really takes its place amongst the available modern recordings of this work. ... a brilliantly precise depiction of extreme mental states, verging on insanity, an expression of existential hopelessness ... all this exists within Sparbo and Steen-Nøkleberg's interpretation. One of Sparbo's most notable qualities is an exemplary, laser-sharp diction - he puts across all the verbal nuances in Wilhelm Müller's text. And yet he never forgets to sing it. I repeat: a great event. To be warmly recommended!»
Harald Kolstad, Arbeiderbladet
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OPERA: Kjell Habbestad's «Hans Egedes Night» in The Culture Hall, Harstad
World premiere, The North-Norwegian Festival in
«Opera-venture in Harstad: Hans Egede's Night»
«Njål Sparbo as Hans Egede is a sensation. He carries the whole performance on his talented shoulders. I cannot recollect having ever seen a singer who so convincingly balances theatrical and musical ability.»
Eyvind Solås, Dagbladet
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CONCERT: Hugo Wolf's «Italienisches Liederbuch» in The University Hall in Oslo
Siri Torjesen, Njål Sparbo and Einar Steen-Nøkleberg
«Italian Miniatures»
«Without any reservations they took possession of the music, reminding us once more that they both command voices which are more beautiful and richer than most others of their generation.
And they increased the temperature to such heights; not through dramatic effects, but simply through the strength and hue of their voices. This made Hugo Wolf irresistible, showing us so many facets of the extraordinary world og life and love.»
Ståle Wikshåland, Dagbladet
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CONCERT: Hugo Wolf's «Italienisches Liederbuch» in Harmonien, Drammen
Siri Torjesen, Njål Sparbo and Einar Steen-Nøkleberg
«Magnificent Musical Event»
«On Tuesday we experienced a musical event of unqualified dimensions. None other than Njål Sparbo and Siri Torjesen were here to present Hugo Wolf's cycle of Italian Lieder, together with the pianist Einar Steen-Nøkleberg. The 46 songs ... were presented with an empathy and richness of colour, and each song's characteristic  quality was carved out - giving us all the exuberance and stormy expressions of love mixed with humour, furtiveness and great beauty.»
Terje Fredriksen, Fremtiden (About "Italienisches Liederbuch")
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CONCERT: Hugo Wolf's «Italienisches Liederbuch» in Musikkens Hus, Kristiansand
Siri Torjesen, Njål Sparbo and Einar Steen-Nøkleberg
«Love the Italian Way»
«Language, rhythm and timing were as solid as rock - they sang with such complete credibility and carried us away with their interpretations of the most sincere, bitter, mocking, humorous and bizarre musical poetry from Italy. First rate!»
Anders Faksvåg, Fædrelandsvennen (About "Italienisches Liederbuch")
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OPERA: W.A. Mozart's «The Magic Flute» in Danseteateret, Bergen
Opera Vest, BIT 20 Ensemble. Conductor: Ingar Bergby
«Mozart: Die Zauberflöte»
«There can be no doubt that Njål Sparbo as Papageno saved this performance. His acting had a natural ease, and his effect on both young and old in the audience was irreproachable. Also in musical terms Papageno was exeptional ... he had such a surplus of musical energy ... singing freely, with sure intonation, and easy to understand.»
Knut Helbekkmo, Bergens Tidende
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OPERA: W.A. Mozart's «The Magic Flute» in Danseteateret, Bergen
Opera Vest, BIT 20 Ensemble. Conductor: Ingar Bergby
«Mozart: Die Zauberflöte»
«The meeting between Papageno and Papageno for example was incredibly funny. Altogether Njål Sparbo's Papageno was the height of the evening's performance.»
Tore Lund, Bergen Arbeiderblad
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CONCERT: Franz Schubert's «Winterreise» in The University Hall, Oslo
Njål Sparbo & Einar Steen-Nøkleberg
«Beautiful Winterreise»
«...In Oslo's Aula Hall on Wednesday evening Njål Sparbo quite captivated his audience. And what a joy it is to see such a well-attended recital! Sparbo's sincere interpretation of Schubert's extraordinary cycle of songs, Die Winterreise, based on the poems of Wilhelm Müller, was quite irreproachable.
For a young Lied-singer Die Winterreise is the equivalent of Hamlet for a young actor. The ultimate challenge! Njål Sparbo came through with flying colours. He masters completely the work's demanding emotional extremes. And the final "Der Leiermann", had a depth of feeling I could not have believed possible for Sparbo at this stage in his career.»
Harald Kolstad, Arbeiderbladet
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CONCERT: Franz Schubert's «Winterreise» in Hedmarksmuseets Aula, Hamar
Njål Sparbo & Einar Steen-Nøkleberg
«Moving Winterreise»
«...Without pause, these two masters each in his own field, presented the whole cycle of 24 songs. All the instrumental details were clear and vivid at the hands of Einar Steen-Nøkleberg. But most moving was Njål Sparbo's total involvement in his material, both in the music and the story. He masters a finely polished pianissimo as well as the power necessary for the forte sections. His diction is quite unique, and the text, in his interpretation, becomes a constant source of communication between artist and audience.»
Moss Undseth, Hamar Arbeiderblad  (About "Winterreise")

OPERA: Rossini's «The Barber of Seville» in Grieghallen, Bergen
The Bergen International Festival. Conductor Alberto Zedda
«Rossini: Il Barbiere di Seviglia»
«The Norwegian singers Njål Sparbo and Bodil Arnesen were chosen to play Berta and Fiorello, and the conductor Alberto Zedda are all happily surprised by the Bergen Philharmonic Orchestra and Choir. Everyone there is so well disposed towards Rossini. And Arturo Corso assured us that Sparbo is capable of changing at a moment's notice from Norwegian Viking to Italian commedia dell'arte-actor.»
Anette Mürer, Dagbladet (cond. Alberto Zedda) Bergen Festival
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CONCERT: «Russian Evening» in The University Hall, Oslo
Njål Sparbo & Einar Henning Smebye
«A True Artist»
«... my expectations were certainly not disappointed. This concert showed quite clearly that this repertoire is his. And that Mr. Sparbo is one of our most versatile singers ... free, strong, beautiful and triumphant ... his interpretation (of Mussorgsky's: Songs and Dances of Death) shows depth of understanding, artistic care and accomplishment ...»
Harald Kolstad, Arbeiderbladet
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CONCERT: «Russian recital» in Bibliotekets Aula, Fredrikstad
Njål Sparbo & Einar Henning Smebye
«Njål Sparbo - Spellbinding Performance»
«An evening filled to the brim with passionate Russian music, and a bass-baritone who may be described as one of Norway's very best. A wonderful voice combined with excellently controlled gesture gave a real sense of life to this music ...»
Dag Gjærum, Østlandsposten  (About "Russian Evening")
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CONCERT: «Russian recital» in Haakonshallen, Bergen
Njål Sparbo & Einar Henning Smebye
«The Soul of Russia»
«A fine and discerning artist he is, this Njål Sparbo! And so generous! This summer he sang Grieg's Vinje-songs at Troldhaugen - all twelve, a challenge most singers would never venture. On Wednesday he held a solo recital.
A pure Russian programme - showing great artistic breadth and impressive in its completeness.»
Reidar Storaas, Bergens Tidende
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CONCERT: «Recital» in Riddersalen, Koldinghus, Denmark
Scandinavian Festival of Music. Njål Sparbo & Einar Henning Smebye
«Great Singing Talent»
«He forms his phrases attractively, with fine depth of tone. There is substance in his presentation - he is poetic with Grieg, soulful with Schubert, completing this part of the programme with a convincing Erlkönig, before the five final, captivating Tchaikovsky songs ...»
B. Sørensen, Jydske Vestkysten
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CONCERT: «Recital» in Riddersalen, Koldinghus, Denmark
Scandinavian Festival of Music. Njål Sparbo & Einar Henning Smebye
«Outstanding Norwegian Recital»
«The Norwegian bass-baritone performed songs and Lieder, accompanied by his fellow countryman Einar Henning Smebye. The result was an evening of outstanding quality with Grieg, Schubert and Tchaikovsky.»
Jens-Jørgen Hedeskov, Folkebladet Sydjylland
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CONCERT: «Recital» in Bibliotekets Aula, Fredrikstad
Njål Sparbo & Einar Steen-Nøkleberg
«Sensational Talent»
«Before his sensational talent is recognised by the music world, he was here in Fredrikstad and forced us to tears. Norway has had few male singers of such quality: beautiful, full of character, powerful and well focused.»
Andrew Boyle, Fredrikstad Blad
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OPERA: Monteverdi1s «L'Orfeo» in Den Gamle Logen, Oslo
Oslo Sommeropera. Conductor: Andrew Parrott
«Monteverdi: Orfeo»
«But above all it was Njål Sparbo's interpretation of Plutone that impressed one: with a threatening, demonic quality he electrified the whole stage as that prince of the kingdom of shadows.»
Elisabeth Wessel, Morgenbladet  (Oslo Summer Opera / Andrew Parrot)
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CONCERT: «Recital» at Troldhaugen, Bergen
Njål Sparbo & Einar Steen-Nøkleberg
«Baritone with a Future»
«His concert at the Bergen International Festival was a convincing demonstration of the unusual quality of his voice, and of his sincerity. With great clarity of diction, Njål Sparbo sings the words, in a way that makes singing appear not merely an artistic convention, but a higher form of natural expression.»
Harald Kolstad, Arbeiderbladet
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OPERA: Mozart's «Mozart: Le nozze di Figaro» in Frimurerlogen, Trondheim
Trondheim Opera. Conductor: Roar Leinan
«Mozart: Le nozze di Figaro»
«As a contrast to the Count and Countess with their complicated emotions, Njål Sparbo (Figaro) and Sigrun Hjalmtysdottir (Suzanna) were irresistibly charming, as the merry and irrepressible newly weds.»
IdaLou Larsen, Nationen (cond. Roar Leinan) Trondheim Opera
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