Jens-Erik Aasb°

Madama Butterfly, Den Norske Opera & Ballett Oslo  “Jens-Erik Aasbø (...) thunders futilely against the Americanism.” Edvarda Lana Der fliegende Holländer, Tokyo Spring Festival “[Ioan] Holender: ‘The fact that [...] Jens-Erik Aasbø had to be flown in for the Daland has proved to be a discovery. Recommendable!‘“ Kronen Zeitung “Daland had to be flown in at the last minute, but (...) Jens-Erik Aasbø did well, wonderfully bass-bourgeois and deviously sentimental.” Welt - Brugs Klassiker “I heard of Jens-Erik Aasbø as Daland for the first time, but his voice that can be tensed was very good and it did not seem to me at all that he was just the understudy.“ Blog - Bigupset39 Der Rosenkavalier, Den Norske Opera & Ballett Oslo “In the role of the Polizeikommissar, however, Jens-Erik Aasbø left a big impression with a strong stage presence and a full-fledged bass voice – a well-developing singer.” Tidskriften Opera “Jens-Erik Aasbø offered a full and resonant bass as the Polizeikommissar.” Operatraveller Don Giovanni, Den Norske Opera & Ballett Oslo “Jens-Erik Aasbø has a powerful bass voice as the Commendatore, the final scene brings goosebumps aplenty.” Edvarda Lana “Jens-Erik Aasbø as the Commendatore (...) really showed off his vocal power and timbre, and the final scene, where he, as a haunting statue comes to drag Don Giovanni to hell, was one of the evening's definite highlights.” Scenekunst “Jens-Erik Aasbø boomed lyrically as the Commendatore, the voice warm with complex depth.” Operatraveller “Jens-Erik Aasbø has an authoritarian voice which is well-suited for the Commendatore.” Klassekampen Lucia di Lammermoor, Den Norske Opera & Ballett Oslo “Jens-Erik Aasbø has a big and beautiful bass voice with a characteristic timbre, which he here employs to render a compelling portrait of the indeterminable priest Raimondo.” Klassiskmusikk Tosca, Den Norske Opera & Ballett Oslo “Jens-Erik Aasbø (is) great and euphonious as a disturbed and terrified Angelotti.”Scenekunst Fidelio, Den Norske Opera & Ballett Oslo “Jens-Erik Aasbø and Elisabeth Teige are the stars of this concert version of Beethoven's opera Fidelio.” Aftenposten “(...) the charismatic Jens-Erik Aasbø deserves attention. There is no surplus of Norwegian basses with his powerful sound and lyric abilities around these days.” Maren Ørstavik Rusalka, Komische Oper Berlin (Oktober 2016) “Jens-Erik Aasbø brought a sense of the deeply, sternly primæval to Vodník, the Water Goblin, lamenting Rusalka’s fate, refusing to grant her false hope.” Boulezian   “Vodnìk, at least as presented by Jens-Erik Aasbø, had some sort of stoic Scandinavian hipster fisherman thing going on.” Fatal Conclutions “As her [Rusalka’s] father, young Norwegian bass Jens-Erik Aasbø impressed with his deep booming voice and strong stage presence.” Bachtrack  Der fliegende Holländer, Opera på Skäret „The bass Jens-Erik Aasbø almost flirts with the audience in his portrayal of Daland.” Avesta Tidning „The Norwegian bass Jens-Erik Aasbø portrays the daddy as a jolly materialist, highlighting the comical side of the role.” Svenska Dagbladet Die Zauberflöte, Den Norske Opera & Ballett Oslo “Jens-Erik Aasbø as Sarastro sings beautifully, and with the required intensity for the orchestra to follow him, and not the other way around.” Dagsavisen Don Gionvanni, Den Norske Opera & Ballett Oslo “Jens-Erik Aasbø’s Commendatore was one of great vocal power in the final scene.” BacktrackNot available!