Andri Björn Róbertsson / Reviews

Andri Björn Róbertsson was a delightfully slime-ball Don Basilio. Björn Róbertsson used his height and physical flexibility to maximum comic effect, which only served to heighten his contributions to the various ensemble and make his calumny aria a masterpiece of comic timing, combined with Björn Róbertsson's fabulously dark bass-baritone voice.

Andri Björn Róbertsson has just the right level of creepiness as Don Basilio, and, with his firm and assertive bass-baritone, delivers his ode to calumny, during which newspaper headlines such as ‘Count Alma-Sleezer’ fall across the auditorium, extremely well.

The jaunty violence and paranoia of the piece were really effectively brought to life in three totally confident, big performances by singers Iain Milne, Samuel Queen and Andri Björn Róbertsson. Here was real music theatre, wound as tight as a spring, full of terrifying musical and dramatic strength.

Andri Björn Róbertsson...here reveals that the true bass repertoire is well within his grasp...Again the characterisation is strong and lucid-his sententious moralising, disapproving sobriety, visionary fear of god. All three roles require surprising excursions into falsetto, and all three sounded very good here. Particularly impressive at this was the Róbertsson who brought a fully supported sound right up into the high notes which meant that they were richer and more beautifully resonant than many a counter tenor that I have heard. Maybe a second career option!?

There are no weak links in the cast, and some of the small roles such as the Sacristan (Adrian Powter) and run-away prisoner Angelotti (Andri Björn Róbertsson) are very well characterised.

There is fine work in smaller roles...Andri Björn Róbertsson as the suffering Angelotti...

Bass/baritone Andri Björn Róbertsson brings real pathos to the tormented Craftsman

Andri Björn Róbertsson...compelling as the Craftsman.

The singers were superb throughout, all acting as well as they sang ... the Icelandic bass-baritone Andri Björn Róbertsson was imposing and dangerous in both operas.

...their interactions suddenly interrupted by the soliloquy of the mysterious Hunter Gracchus (sung with poise and gravitas by Andri Björn Róbertsson)

The various supporting roles came in the names of Jennifer France, Krisztina Szabó and Andri Björn Róbertsson, all of excellent level where the latter managed to change himself to a madman

Bass-baritone Andri Björn Róbertsson as Witness 3 and an excellent personification of the Madman

The role of Krishna was taken by Andri Björn Róbertsson with panache.

Other singers who impressed were Clive Bayley as Parsi Rustomji and Andri Björn Róbertsson as Lord Krishna.

​The other Harewood Artists were ... and Andri Björn Róbertsson singing Theseus. All clearly have great careers ahead and gave wholehearted performances.

Andri Björn Róbertsson, Emma Carrington, Simon Butteriss, Timothy Robinson and Jonathan Lemalu who may have smaller roles, but add much character and wonderful singing and acting in the final scenes.

Andri Björn Róbertsson, der bereits an der Uraufführung als dritter Zeuge und Madman mitwirkte und sicher schon damals besonders in der zweiten Rolle, in seinen Bann zog, durch seinen wohlklingenden Bassbariton und authentisches Spiel.

Saluons également la composition, impressionnante, d'Andri Björn Róbertson en déséquilibré revendiquant la couronne et que Mortimer fait éliminer, en guise de leçon, devant le Fils d'Edouard