Come Rain
Kristiansand Domkirke
A huge and rare experience. Through the first songs the listener is
presented to a constructive culture crash between the singers traditional
lines and the modern language of the organ, and then in the end we meet
the harmony and the great beauty at an optimal sound level. A peak experience.
(Fædrelandsvennen, Kristiansand)
Come Rain
Oslo Domkirke
Overwhelming. They give the well known texts a new life, creating shiverings
through the church hall where we are swept off our seats, bathed in
repeated waves of sound.
(Dagbladet, Oslo 2003)
Come Rain
Religious Norwegian folksongs, and organ improvisations by Nils Henrik
Aasheim.
The voice and the organ interacted in a way one would not imagine. The
fragility of the human voice blended with the roars from the queen of
instruments, made a stirring combination and concert experience.
Arnstein Olaisen, Haugesund News, September 18, 2001
Gorecki Symphony No.3, Norwegian Broadcasting Orchestra
- - - - -Celestial Passion
The central vocal part was interpreted with expressiveness and vocal
colours that reflected the suffering, the drama and the hope. Both stirring
and touching, an important experience of art so far away from noisy
and superficial entertainment.
Martin Haug, Drammen Times, October 25, 2001
Mahler 2nd Symphonie with Long Beach Symphonie Orchestra
and Jo Ann Falchetta
Mahler´s road to the resurrection begins with the beautiful
song "Urlicht", sung by alto Anne-Lise Berntsen with a dark,
rich vocal timbre. Her dramatic command of both word and phrase intensified
the message of hope in this exquisite song, which segues into the colossal
Finale.
Herman Trotter, The Buffalo News, june 9, 2001
Berntsen sang the all-impotant text with angelic passion. She responded
to Faletta with real feeling and clarity og tone.
John Farrell, Press Telegram, june 18, 2001
Berntsen´s mezzo soprano was rich and characterful.
Mark Swed, Los Angles Times, june 18, 2001
Anne-Lise Berntsen possesses an dark, lovely mezzo that produced a heartbreaking
"Urlicht".
Jim Roggirello, Grunion Gazette, june 21, 2001
Nils Henrik Asheim : Hurricane
The soprano Anne Lise Berntsen commands a unique scenic presence, as
well as a wonderfully wide-reaching voice, all the way from the bronze-coloured,
deep range up to the silvery shining, unconstrained heights.
Knud Ketting, Jylland News, February 18, 2001
Millennium
Thursdays foray into the Baroque turned out to be a voyage in time,
words and music.
Anne Lise Berntsen continued her series of reviewing musical epochs,
making use of anecdotes, history, humour, personal observations and
reflection, as well as her excellence in creating an intelligent repertoire
mix.
Once again Berntsen managed to surprise and delight us through her informal
style and serious content, coupled with that special gift of hers to
capture the essence of an epoch –the" Zeitgeist"- and
make it come over to the audience. In doing this so well, she reaches
the audience, who in return respond in a way such as to warm all parts
for a long time afterwards, even in this winter´s bitter cold.
In Anne Lise Berntsen`s historical concerts, she manages to pinpoint
the" Gestalt " of the epoch and its musical styles of expression,
in a way that captivates an audience in the 21st century.
This is the art of interpretation and mediation, made possible through
deep insight on an elevated professional level.
From a glorious rendition of a Purcell aria, Berntsen leaps on to Norwegian
religious folksongs, and makes us realise how rich and complex this
national treasure trove is.
Ever conscious of the danger of lulling the audience to sleep through
lecturing, Berntsen usually renounces the historical harangue in favour
of one of her ever-ready "bons-mots", thus keeping the audience
attentive to the last minute.
The concert reached its apex in a Händel aria so intensely beautiful
that one felt one could hardly bear any more. Completely shattering
– marvellous rendition!
Martin Haug, Drammen Times, February 9, 2001
Grieg: Haugtussa
Anne Lise Berntsen has a rare assurance and presence on stage. With
her distinct diction and unaffected rendition also the lyrics of the
songs are accentuated, in a manner both insisting and moving. The concert
was an emotionally strong meeting with Grieg and his Haugtussa.
Karin Rykkje, Sunnmøre News, January 25, 2001
Millennium
Anne Lise Berntsen has created, and then further developed a concert
format, which enables the artist to mediate and transfer cultural heritage
in a very interesting and vivid way.
She is an artist gifted with a rare scenic talent. In addition, hers
is an ability to make history come over in a very lively way, making
use of anecdotes and metaphors as well as song. She amazes us with her
ability to transpose her modern soprano to the styles and expressions
to the ideals of the different epochs and composers.
She vivifies personalities such as Hildegard von Bingen, Beatrice de
Diaz, Guillaume de Machaut, Walter von der Wogelweide, along with the
emperor Maximilian and Martin Luther.
Combining cultural, political and social history, she creates a beautiful
and interesting framework for each single piece of music.
Martin Haug, Drammen Times, January 19, 2001
Concert
Anne Lise Berntsen also presented songs by Sibelius, accompanied by
the pianist Håkon Austbø. She took the time to inform the
audience what the songs were about, thus making it all the easier to
keep up with the lyrics.
It is by no means hard to understand why Berntsen have become a celebrity:
Her voice carries very well indeed, and the sad love songs were excellently
and credibly rendered.
Nina K.Olsen, Fredrikstad Times, September 2, 2000
The City - the Country - Europe
ALB opened the new century´s concert series in the concert hall of Rukanhuset.
The event may thus easily be termed the consert of the century. Besides,
it will take a long time for this consert to be surpassed!
ALB highlighted both small events and great from the 20th century, and
had been careful in picking songs to match each one.
In particular, she focused on the great struggle, and in Scandinavia
even the great corporation, between the two great ideologies of the
time - capitalism and socialism. The hydroelectric power plant of Vemork
will remain a brilliant example of what these two opposites have managed
to accomplish.
- The realisation of a Utopia! ALB concluded.
Arne Persson, Rjukan Time March-2000
Europe Changing
I know of no other artost who could have taken on the task of acting
as our guide through such a complex landscape, while mantaining such
a natural unaffectedness, combined with such dedication and authority.
Again ALB facinates, provokes and involves us, both as individuals and
audience.
ALB fills a very important functin as an interpreter and communicator,
a contemporary voicing a different message.
Her latest concert was ample evidence of her capacityto give form and
expression to even the least accessible musical forms, so as to make
them reach us, hit us, touch us and make us experience them. This facility
demands a level of insight beyond the musical scores, a dedicatiøn to
art, time and people that is personal and genuine, plus the artistical
nerve and onstage charisma to make us feel concerned.
A better summing up of the 20th century is hardly conceivable. Quo Vadis?
Martin Haug, Drammen Times 27.02.99
Gorecki Symphony No.3, Buffalo Philharmonic
ALB is the ideal interpreter of this hypnotic work.
Her voice has a lovely purity and a lofted spiritual quality. But more
important, her near-vibratoless tone production is able to protect the
music´s reach into heavens.
Berntsen truly understands and projects the type of austere, arced cantillation
that Gorecki almost certainly had in mind whwn he composed this beautifullly
timeless work. Moreover, in addition to the even-toned purity that sustains
the spirituality of the outer movement´s prayer and folk song, she also
has the rich lower range for the opening of the central movement´s prison-wall
prayer
Herman Trotter, American Record Guide May-June 2000
Angel's Arrow
Recital with Nils H. Asheim, Organ.
International Festival of Voices, Lörrach, Germany
Anne-Lise Berntsenís voice is truly celestial. Voices like hers are
rarely heard, even at a Festival of Voices. She is comparable only to
Soeur Marie Keyrouz.
Jürgen Scharf, Oberbadisches Volksblatt - July 25,
1998
Her singing arises from a tremendous depth of soul. During her and Nils
Henrik Asheim's concert nothing but the beauty of their harmonies inhabited
the hall.
Annika Nickel, Badische Zeitung - July 24, 1998
Europe Changing
(3rd concert in a series of 5)
Anne-Lise Berntsen appears more and more as a contemporary artist, communicating
something more than entertainment, the desire to impress on estetic
pleasure.
On stage Anne-Lise Berntsen appears as human being and artist rather
than a perfect, out-to-impress singing machine. In order to convey expression
in such a form one has to take risks and strech boundaries. And that
she does. Alive, engaged, and engaging.
C. Martin Haug, Drammens Tidende og Buskerud Blad (Norway)
-March 6, 1998
LUDO
CD review
"Anne-Lise Berntsen, outstanding classical singer;
Bendik Hofseth, saxophone player; and
Helge Iberg, keyboard magician.
Dramatic verve and delicate beauty intertwines. This chamber musical
play is intelligent, inspired, and captivating. Once you subject this
recording to the cerebellum, chances are it will take over the entire
brain. If you swear to "pure" music, a CD like this would serve as a
source for the most delightful vexation!"
C. Terje Mosnes, Dagbladet (Oslo) -December 1997
Hans Gefors: Vargen kommer
A new Swedish opera, premiered at Malmö Musikteater
with great success January 17, 1997.
The main character Lollo was created especially for Anne-Lise Berntsen
"(Heading: Opera Thriller in Kindergarten)
Berntsen carries her character to the heroic heights of a Brünnhilde.
At the same time her acting brings out, crystal clear, the tragedy of
Lollo's destiny."
C. Lundberg, Expressen (Stockholm) - January 18, 1997
"Anne-Lise Berntsen's voice is genuinly Scandinavian: bright and secure.
Her acting is intoxicating, overwhelming. Her voice has an incredible
strength and intensity without losing anything with regards to focusing
the tone."
L. Brommander, Arbetet (Malmö) - January 19, 1997
Berg: Wozzeck Fragments
Oslo Philharmonic Orchestra. Cond.: Marek Janowski
"Anne-Lise Berntsen at her absolutely best was heard in Oslo Concert
Hall on Thursday. Her performance of an excerpt from Alban Berg's "Wozzeck"
together with Marek Janowski and the (Oslo) Philharmonic Orchestra was
a major achievement. Berg puts an awesome demand to the soloist. He
treats the human voice as an orchestral instrument - without almost
any concern for its natural limitations. However, Berntsen met the expectations
convincingly. Seldom has the huge span and distinctive timbral palette
of this voice come better to its right, in addition to that the interpretation
was shiveringly intense and sensitive."
Verdens Gang (Oslo) - February 18, 1996
Anne-Lise Berntsen, with emotion quivering to her fingertips and her
blood-coloured, metal clear voice with an almost unlimited power of
expression, transformed the Wozzeck Fragments into one chilling moment.
Vårt land (Oslo) - February 18, 1996
Lasse Thoresen: "Ya Kafi, Ya Shafi"
Oslo Philarmonic Orchestra, Conductor Stefan Sköld.
The last part of the concert took off completely as Anne-Lise Berntsen's
shining voice shimmered above the choir's prayer.
Sigvard Lepsö Bergens Tidende - May 1996
Angel's Arrow
Recital with Nils H. Asheim, Organ. Grace Cathedral,
San Fransisco.
"For starters, the Norwegian soprano possesses one of the world's most
precious dramatic instruments, a voice on the same thrillingly high
plane as Regine Crespin or the young Astrid Varnay. Hearing this woman
fill the vast cathedral with her generous, opulent sound was a downright
physical experience, in music so ethereal that it invited both spiritual
meditation and sensual bliss."
San Francisco Chronicle - November 13, 1995
Angel's Arrow
CD review
"My absolute favorite angel CD comes from Norway. But relax, you don't
need to understand a word of Norwegian to be blown away by the dark,
guardian angel voice of Anne-Lise Berntsen. Their angel songs are old
Lutheran hymns, some familiar, some long forgotten, but the performances
are so powerful and so moving that their music-making transcends any
creed. Every word sung, every musical phrase delivered is packed with
haunting beauty and deeply felt emotion. The music sounds at once very
old and very new, affectingly simple yet inexhaustibly rich. This music
will make you believe in angels too."
Skyways News - December 5, 1995
Schoenberg: Pierrot Lunaire
CD review
Arthur Fiedler once recorded an album entitled "Classical Music for
People Who Hate Classical Music": Perhaps this is Schoenberg for People
Who Hate Schoenberg. Berntsen's gorgeous soprano and her emotional singing
fits the music surprisingly well.
(Fanfare 1995)
Gorecki: 3. Symphony
World's first stage version, Malmö Music Theatre.
Cond.: Grzegorz Nowak
"...in Corecki's third Symphony, Anne-Lise Berntsen's soprano shines
like a fire with power to penetrate the most compact darkness... Anne-Lise
has a large, expansive, but at the same time well focused soprano with
considerable lyrical qualities. She sings the soprano part absolutely
brilliant, and once again I ask myself why this extraordinary singer
is not more often seen and heard at the opera stages."
Arbetet (Malmö) September 18, 1994
Strauss: Elektra excerpts e.a.
Recital with Peter Grunberg, Piano. Headlands Center
for the Arts.
"Norwegian Soprano Spectacular. Berntsen may be one of Europe's best
kept secrets, but perhaps concerts like this will help spread the word.
The physical experience of hearing this voice in this music was at once
frightening and sensual. The dead-on aim of her attacks, and the sheer
power she could summon, put one in mind of Birgit Nilsson of Regine
Crespin. But it was the womanly warmth of Berntsen's singing, the sensual
generosity of her voice that explained why she is being compared to
her compatriot Kirsten Flagstad. The music world deserves to know this
woman better."
San Francisco Chronicle - November 22, 1994
Verdi: Requiem
Soprano part, Helsingfors Stadsorkester. Cond.: Sergiu
Comissiona
"The outstanding Norwegian soprano Anne-Lise Berntsen was the leading
singer. She brought into the Requiem the pain and the anguish of the
individual human being in a more dramatic manner than usually heard.
But most admirable was her skillful use of the voice: the high B flat
of the "Libera me" was really heard in a most distinguished manner,
according to Verdi's own marking: "pppp"."
Helsingin Sanomat (Helsinki) - April 25, 1992
Berlioz: La Mort de Cleopatre
RAI orchestra, Milano. Cond.: Valentin Kojin.
"Berlioz' scena lirica "Cleopatra" was dominated by the interesting
darkly coloured voice of young Norwegian soprano Anne-Lise Berntsen.
She was a singing "Valentino" in women's clothes, and possessing a considerable
dramatical temperament."
La Republicca (Milan) February 29, 1992
Janacek: Jenufa
"Kostelnichka", The Norwegian Opera, Cond.: Antonio Pappano
"Berntsen interprets the part consequently from within - a strong, wounded
woman, driven to a tragical crime by her inner demons. (...) I cannot
think of another singer I rather would see in this part."
Arbeiderbladet (Oslo) - March 3, 1991
Monteverdi e.a.
Recital with Jens E. Christensen, Organ. Our Saviour's
Church, Copenhagen
"The female voice belonged to the Norwegian soprano Anne-Lise Berntsen.
A primal force speaks when she sings. The credibility of the content
emanates from the singer's concentration on the inner message of the
music. Anne-Lise Berntsen switched effortlessly between the styles,
different textual approaches, and different modes of phrasing. Every
little song was a beautifully balanced unit, with a point of its own.
And all these units merged into a superior totality, built around the
spiritual emotions and needs of man."
Politiken (Copenhagen) - January 29, 1991
Wagner, Mussorgsky,Sibelius
CD review
"She opens with an eerie, other-worldly sound. Always one is aware of
intelligence, a live engagement with the songs and with the unseen audience.
In "Trepak" the ghostly tone of the story-teller catches the shivery
moment of recognition, and then the chilling gayety of the dance. And
if the climax in the last song is not exactly pleasant, well, it isn't
meant to be."
(Gramophone 1991)
Berg: Wozzeck
Marie, The Royal Theater, Copenhagen. Cond.: Tamas Vetö.
"Here lives and acts a free human being. If there is anything revolutionary
in the opera Wozzeck and in the production of The Royal Theatre, it
comes first and foremost in Berntsen's Marie. Scenically she takes action
right to the point, with just that element of exhibitionism and hysteria
which is an important part of her artistical courage and distinctiveness."
Politiken (Copenhagen) - February 7, 1990
Strauss: from Ariadne auf Naxos, Wagner: Wesendonck-Lieder
Recital with the Tivoli Orchestra, Copenhagen. Cond.:
John Frandzen
"Her voice was a sumptuous instrument, the stuff from which world singers
are made: a dark, full-bodied, richly faceted soprano, perfectly even
in all registers. She recited Wagner's Wesendonk Songs in perfect intimacy,
almost whispered to the audience as if confidential. Berntsen, almost
in a way one only heard from piano versions with Flagstad and Lotte
Lehman, sings from the words, forms sentences as if in a play of shadow
and light."
Politiken (Copenhagen) - August 11, 1989
Barber: Hermit Songs, Brahms: Vier ernste Gesaenge e.a.
Recital with Poul Rosenbaum, Piano. The Swedish Church,
Copenhagen.
"Astounding from the first note. A voice vibrating with a great primal
force. One listened as if in a trance. Her ability to create an ambiance
is indisputable. The work becomes for her the framework for a completely
personal story told from the inside."
Politiken (Copenhagen) - May 19, 1989
Puccini: Turandot
Turandot. Folk Opera, Stockholm. Cond.: Glen Mossopp.
"She took our breath away: she is in every respect a perfect Turandot.
She is a great singer and an artist of the stage. Her high dramatic,
brilliant and warmly lyrical register is the most splendid imagineable...
Nothing like her "in questa reggia" has been heard since Nilsson sang
the piece under Fausto Cleva in the sixties."
Dagens Nyheter (Stockholm) February 1988
"When she is on stage, everything else abates. Her enormous tonal intensity,
her total involvment and musical commitment plays you utterly at her
mercy."
Svenska Dagbladet (Stockholm) February 1988
Berg, Kvandal, Shostakovitch
Cd review
"It is no coincidence that she is partial to contemporary vocal music,
because she truly knows how. She is a musician, a musician of the voice."
(High Fidelity 1988)
Back to the top |
Rundt
75 mennesker fikk et tett og intenst møte med Anne-Lise Berntsen
og Ida Løvli Hidle. 
FIKK GRYN: Anne Lise Berntsen og Ida Løvli Hidle fikk takk
med hver sin pakke med lokalt byggryn av Kjellrun Sakshaug og Elin Amundsen,
istedet for blomster.
Sangeren
Anne-lise Berntsen og hennes akkompagnatør, Ivar Anton Waagaard,
fylte kulturhuset i Nærøy med vellyd under deres helt spesielle
konsert søndag kveld.
Fhoto:
Eigil Aasen.