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Amneris in Aida - Malmö, Sweden

Den intressantaste rollgestalten blir Amneris. Finska Tuija Knihtilä gör ett magnifikt porträtt av en till en början styvsint och kall prinsessa. I en av de regimässigt mer utarbetade scenerna väljer och vrakar Amneris på ett utstuderat överlägset sätt bland 24 olika guldglänsande festplagg, framburna av 24 slavinnor i identiska, grågröna bomullsklänningar. Snart djupnar dock Amneris förståelse och känslor. Tragiken blir verksam när vi med sympati ser hur hon i sin förtvivlade kärlek till Radamès blir villig att kompromissa och sätta sig över sig själv. Knihtilä imponerar i rollen, slukar lustfyllt sångpartiet med en dramatiskt effektiv och superfokuserad mezzosopran.

The most interesting protagonist is Amneris. Finnish mezzo, Tuija Knihtilä, makes a magnificent portrait of the intially stubborn and cold princess. In one of the more elaborately directed scenes, Ameneris arrogantly picks and chooses from twenty-four different, shiny gold dresses brought forth by twenty-four slaves in identical pale green cotton dresses. Soon, however, Amneris' feelings and understanding deepen. The tragical becomes palpable as we watch her compromise herself in desperate love for Radamès. Knihtilä is impressive in the role. Her dramatic mezzo is passionately effective and immensely focused.

Åsa Mälhammar, Sydsvenskan, March 2015

Amneris in Aida - Malmö, Sweden

Ved siden af Daniel Franks tenor var det frem for alt en oplevelse på internationalt niveau, intet mindre, at høre den finske mezzosopran Tuija Knihtilä. Sikken en stemme og sikken en kontrol! At hendes Amneris ikke bare er en ondskabsfuld kliché, men en rigtig, tredimensional person med vaklende følelser, der til sidst fortryder, at hun har sendt Aida og Radamès i døden, er i højeste grad med til at gøre den nye ’Aida’ i Malmø til en forestilling, der viser, at der er rigtige, levende mennesker inden i dette ellers tit så pompøst og udvendigt iscenesatte værk. Hun skaffer forestillingen det femte hjerte

Next to Daniel Frank's tenor, it was first and foremost an experience at the international level, nothing less, to hear Finnish Mezzo, Tuija Knihtilä. What a voice! What control! The fact that her Amneris is not just a mean spirited clichée, but a real three-dimensional person with wavering emotions - in the end regretting having sent Aïda and Radamès to their deaths - very much contributes to making Malmo's "Aïda" a show about real living people and not just an exercise of the external as is often the case. She earns the show it's fifth star (5/6)

Thomas Michelsen, Politiken, March 2015

Amneris in Aida - Malmö, Sweden

Mest grips jag dock av mezzon Tuija Knihtiläs Amneris son i den näst sista scenen får bära rättegången mot sin älskade Radames helt ensam på scenen occ liksom inombords. Det är hon som förkroppsligar hur ett raseri ach ett hat kan ebba ut och vändas till försoning. Och till en bön om fred. Ett mirake son denna Verdis "Aida" vill få oss att tro på.

However, most touching was mezzo Tuija Knihtilä's Amneris. In the penultimate scene, she has to bear the trial of her beloved Radamès internally as well as all alone on stage. It is also she who embodies the transition from rage to reconciliation to a prayer for peace which is the miracle in which this production of Verdi's "Aïda" wants us to believe.

Martin Nyström, Dagens Nyheter, March 2015

Amneris in Aida - Malmö, Sweden

Med underbart klar, bärig röst förenar Tuija Knihtilä den självklara, överlägsna attityden hos kungadottern Amneris med den förälskade kvinnans osäkerhet. I en obetalbar scen har hon att välja mellan ett 20-tal klänningar och avvisar irriterat den ena efter den andra.

With a wonderfully clear and strong voice, Tuija Knihtilä combines the naturally superior attitude of the Princess Amneris with the uncertainty of a woman in love. In a priceless scene, she has twenty-some dresses to choose from but annoyed she rejects one after the other.

Bo Löfvendal, Svenska Dagbladet, March 2015

Santuzza in Cavalleria Rusticana - Sao Paulo, Brazil

Para encarar a Santuzza convocaram Tuija Knihtlä , o soprano apresentou  voz consistente com agudos e médios escuros e uma interpretação cênica convincente. Grande cantora com excelentes qualidades vocais e cênicas.

The mezzo Tuija Knihtila as Santuzza showed a consistent voice with dark medium and high notes and a strong stage presence. Great singer with excellent vocal and scenic artistry.

Movimento.com, October 2014

Santuzza in Cavalleria Rusticana - Sao Paulo, Brazil

A única grande voz ouvida nesta Cavalleria foi a da mezzosoprano finlandesa Tuija Knihtlä, que compôs uma excelente Santuzza. Conhecida do público paulistano desde sua não menos excelente Amneris de 2013 (Aida), a artista uma vez mais comprovou seu enorme talento, exibindo uma voz potente, em especial nos agudos e nos graves, e uma grande atuação cênica. Conquistou o público e saiu do palco ovacionada.

The only great voice in this "Cavalleria" was finnish mezzo Tuija Knihtila, who portrayed an excellent Santuzza. Known by the audience since her not-less-excellent Amneris in "Aida" (2013), this Artist has once again showed her great talent, showing a powerful voice, especially in the low and high notes, and a great scenic interpretation. She conquered the audience and got infact an ovation at the end.

Ali Hassan Ayache, operaeballet.blogspot.com.br, October 2014

Amneris in Aida - Bonn, Germany

Tuija Knihtilä bringt als Amneris einen voluminösen Mezzo ins Spiel, satt und dunkel, in der Tiefe mit dämonischem Anstrich ­perfekt.

General-Anzeiger, February 2014

Amneris in Aida - Bonn, Germany

Und die Finnin Tuinja Knihtilä lässt als Pharaonentochter Amneris eine dramatische Mezzospranstimme von größter Autorität und Ausdrucksvielfalt erklingen: So macht Verdigesang Spaß.

Rhein-Zeitung, February 2014

Amneris in Aida - Sao Paulo, Brazil

No papel de Amneris (filha do Faraó), a mezzo soprano finlandesa Tuija Knihtilä protagonizou um dos melhores momentos do espetáculo na primeira cena do quarto ato.

In the role of Amneris (Pharaoh's daughter) the Finnish mezzo-soprano Tuija Knihtilä starred one of the show's finest moments in the first scene of the fourth act.

Sidney Molina, Folha De S. Paulo, August 2013

Ortrud in Lohengrin - Savonlinna, Finland

Tuija Knihtilän rooli taitavasti ja viekkaasti toimivana Ortrudina on hyvin tehty. Laulussa on loistoa ja roolin psykologinen myyräntyö kutkuttaa.

Tuija Knihtilä's role as cunning and clever Ortrud is well made. There's grandeur in her singing and the psychological undermine work of the role titillates.

Aamulehti, July 2013

Ortrud in Lohengrin - Savonlinna, Finland

Knihtilän mezzo-sopraano hehkui pahisroolissa täyteläisesti ja uskottavasti.

Knihtilä's mezzo-soprano flamed in the bad-guy role in a full and a credible way.

Helsingin Sanomat, July 2013

Ortrud in Lohengrin - Savonlinna, Finland

…ensi-illan kirkkaimpana tähtenä loistaa mezzosopraano Tuija Knihtilä Ortrudina. Hänen vahva ja vivahteikas äänensä sekä luonteva tulkintansa on illan parasta kuultavaa.

...as the brightest star of the premiere shines mezzo-soprano Tuija Knihtilä as Ortrud. Her strong and nuanced voice and natural interpretation are the best of the evening.

Keskisuomalainen, July 2013

Brangäne in Tristan und Isolde - Chemnitz, Germany

"In Chemnitz… Tuija Knihtilä gibt die Brangäne mit warmem Mezzo-Sopran und sicheren und leuchtenden Höhen und harmoniert stimmtechnisch brillant mit Hogrefes dramatischem Sopran."

Andreas H. Hölscher, Opernnetz.de, June 2013

Brangäne in Tristan und Isolde - Venice, Italy

…a particularly forceful Brangäne from the Finnish mezzo Tuija Knihtilä…

Paul Gent, The Telegraph, November 2012

Brangäne in Tristan und Isolde - Venice, Italy

Surprisingly, some of the strongest emotional moments in the opera came from Tuija Knihtilä as Isolde’s maid Brangane, and Richard Paul Fink as Tristan’s servant Kurwenal.

Susan Nickalls, Financial Times, November 2012

Brangäne in Tristan und Isolde - Oslo, Norway

Isolde and Tristan are not the only ones who carry this opera. The faithful handmaid Brangaene (Tuija Knihtilä), with her initially naïve and uninitiated, then warning and informed lines on the one side, and the absolutely beautiful, at times almost cosmic music on the other, play a key role in the first two acts. Many an Isolde has had to compete with Brangaene for the most beautiful song, even though the roles complement each other perfectly, as they certainly do here. Particularly memorable is the scene where Brangaene’s song rings out in the background, embracing and exalting the standing, intertwined bodies symbolising the two lovers, before they lay together in embrace with the singer.

Dag og Tid, March 2012

Brangäne in Tristan und Isolde - Oslo, Norway

Tuija Knihtilä and Magne Fremmerlid interpret the roles of Brangaene and King Mark with such depth of musical insight as to produce some of the finest moments of the production.

Aftenposten, March 2012