“Joel Annmo receives Birgit Nilsson-stipendet”
“Claes Wahlin on an affordable, careful tenor”
“This is a kulturartikel which is a part of Aftonbladet’s opinionsjournalistik.”
“In the beginning, it must have been 2016 in Debussy’s Success and Immensely, I was able to find Joel Annmos tenor a bit weak and tentative. Phrasing, however, was promising and wise as he apparently is, he has taken it gently, not overworking the voice. Possibly there is a wise teacher in the background.”
“a Little bit better, it was as Froh in Wagner’s das rheingold, and even better when I heard him in the Lenskijs famous aria ”the Past, the past is my kärlekslycka” in Tchaikovsky’s Eugen Onegin at the Royal Opera house. Now had the fragility developed to a density, the phrasing more elegant. So enough caution paid off.”
“nÅrets Birgit Nilsson scholarship of sek 100,000, he is well worth it. Might have just this caution has been one of the jury’s reasons, the scholarship will go to a singer in the beginning of his career. And because tenors are a rare commodity in the world, so it is to stand against the actions of other people call. The voice may fail.”
“if you’re in the vicinity of the Strängnäs cathedral on april 13, you can hear Joel Annmo in Bach’s st john passion. Then he appears in the spring at the Royal Opera house in Dracula, to the autumn, as he on the same stage in Mozart’s the magic flute and Eugene Onegin, where the Lenskijs kärlekslycka may be past, but hardly Annmos – and the audience – operalycka.”
