Kristina Kolar in the role of the strong and evil Lady Macbeth showed her mastery in both acting and singing, rising with infinite ease into crystal clear heights, with her agile voice and deeply moving production in the madness scene.
This staging presented the strength of the Rijeka Opera, its chorus and soloists, not afraid to embark on the challenging dramatic play interwoven with Verdi’s music of recognisable melodic force and polyphonic expression.
Gloria Fabijanić Jelović, HRT Radio Rijeka
Duets with Kristina Kolar were a filigree-like polished vortex of brilliant interpretative threads and vivid emotions. G. Surian’s great acting skills portrayed Macbeth’s soul as if on a painting canvas, while deserving special mention is the face mime in the fourth act in combination with the excellent video by Marin Lukanović.
Luka Nalis, fiuman.hr
In aggressive postures and with blood that profusely trickles from their hands and faces, in military like severe costumes, the characters of Lady Macbeth and Macbeth almost seem to be attacking us from the stage, getting into our faces and singing directly forward to the audience, in the excellent acting and singing performance of Kristina Kolar and Giorgio Surian, achieving all the strength and intensity of evil that Verdi had intended. (…)
Impressive from the very beginning, the character of Macbeth in the performance of Giorgio Surian grew in its darkness and madness toward the end of the opera, with exceptional conviction given by the interpreter, primarily by his extraordinary acting that seemed to have given wings to his voice; powerfully and relentlessly carrying it through the role, evoking faithfully both madness and weakness that mix with the diabolic nature, from the first act and murder of Duncan or the scene of ball in the second act, up to the duet with Lady Macbeth and arias in the last act, almost moving Pietà, rispetto, amore and the powerful farewell from the first version of the opera, Mal per me che m’affidai, which ends the opera. Giorgio Surian has achieved that level of interpreting opera roles when we no longer hear tones, but meanings, thoughts and states of the mind of his character.
Zrinka Matić, Klasika.hr