”Båstad is Birgit Nilsson’s homeland, and when the foundation that bears her name decides to stage Aida outdoors, it knows how to do things, write the French opera web Forumopera in a very entusiastic review. Read more: https://www.forumopera.com/spectacle/verdi-aida-bastad/

 … There will be a sound system, so that no vocal or orchestral detail escapes the spectators, the concentration of the audience and the quality of its silence allowed for a near-ideal reception of the work. And the Scandinavian nightfall is poetic in its poetry. The final duet, in almost complete darkness, is moving.” (Christina Nilsson’s Aida, and Martin Muehle’s Radamès)

Christina Nilsson: ”her voice is radiantly healthy, lilting, and projected with aplomb. She doesn’t even seem to notice that Verdi has strewn her path with pitfalls.” 

Sofija Petrović (Amneris): ”has the physicality of the role and all the notes of the tessitura. Her very assured tone confirms that she is indeed the central character of the opera.” 

Fredrik Zetterström (Amonasro): ”manages to skillfully alternate between fragmented narratives, conspiratorial murmurs, and long phrases like ’Pensi che un popolo’, all in a refined style and perfect taste.” 

Krysztof Baczyk (Ramfis) and Henning von Schulman (King).”The two basses are impeccable… they are both facets of the same power. Baczyks ’Radames! Radames! Radames!’ is devilishly effective. von Schulmans King is sung with conviction.”

Helsingborgs Symphony Orchestra & Pier Giorgio Morandi: ”with that bounce of the discourse that is vital in opera. They deliver an anthology ballabile, where all the sections successively cover themselves in glory. And the Egyptian trumpets placed on both sides of the stage are worth their weight in gold.”