P r e s s
Original language versions here
March 2023
Brander (Berlioz - La Damnation de Faust)
Concert performance
Musical direction: Gardner
The Norwegian Opera & Ballet
Scenekunst.no:
"The Norwegian Opera's own bass Jens-Erik Aasbø is really great in the small role as Brander, one of the tavern guests, and sings "The song of the rat" with character and great passion." (Aksel Tollåli)
March 2023
Count Horn (Verdi - Un ballo in maschera)
Stage direction: Sofulak
Musical direction: Gardner/Meyer
The Norwegian Opera & Ballet
Klassekampen:
"(...) the smaller roles are well enough cast, where in particular Jens-Erik Aasbø stands out with the far too few lines of Count Horn." (Magnus Andersson)
July 2022
Fasolt (Wagner - Das Rheingold)
Stage direction: Schwarz
Musical direction: Meister
Bayreuther Festspiele
Klassekampen:
"Basso Jens-Erik Aasbø impressed with deep power, and with thoughtfulness and delicacy in his voice in the role of the love-sick giant Fasolt." (Magnus Andersson)
Der Opernfreund:
"Jens-Erik Aasbø portrayed Fasolt with a warm, smooth and bright bass." (Ludwig Steinbach)
neue musikzeitung (nmz):
"Jens-Erik Aasbø convinces as Fasolt." (Joachim Lange)
Festspieleblog.de:
"Both Wilhelm Schwinghammer as Fafner and Jens-Erik Aasbø as Fasolt have weight and power in their deep voices, sing clearly and – this is something of a rarity – are understandable." (Regina Ehm-Klier)
Ôlyrix:
"The two giants Jens-Erik Aasbø (Fasolt) and Wilhelm Schwinghammer (Fafner) dominate their subject by the use of a noble and sovereign instrument in the bass." (David Verdier)
Der Wanderer:
"Jens-Erik Aasbø's Fasolt shows a strong, well-projected voice (...)" (Guy Cherqui)
Boulezian/Wagneropera.net:
" Jens-Erik Aasbø and Wilhelm Schwinghammer contrasted actions and motivations well in the giants’ roles." (Mark Berry)
Beckmesser.com/Levante
"The powerful Fasolt of the Norwegian bass Jens-Erik Aasbø stood out."
Resmusica.com:
"(...) the powerful and solid Fasolt of Jens-Erik Aasbø (...)" (Michel Thomé)
Fomalhaut:
"Jens-Erik Aasbø gives Fasolt a certain melancholy languor." (David)
Kulturbrief.de:
"Fasolt (Jens-Erik Aasbø) produces before his death beautiful, bright lyrical tones." (Frank Piotek)
June 2022
1. Nazarener (R. Strauss - Salome)
Concert performance
Musical direction: Gardner
Bergen International Festival
Aftenposten:
"(...) Jens-Erik Aasbø portrays the 1. Nazarene well." (Aksel Dalmo Tollåli)
January 2020
Madama Butterfly - Puccini (Bonzo)
Stage direction: Langridge
Musical direction: Stasevska
The Norwegian Opera & Ballet
"Jens-Erik Aasbø (...) thunders futilely against the Americanism." (Edvarda Lana)
April 2019
Der fliegende Holländer - Wagner (Daland)
Musical direction: Afkhan
Spring festival in Tokyo
Welt - Brugs Klassiker:
"Daland had to be flown in at the last minute, but (...) Jens-Erik Aasbø did well, wonderfully bass-bourgeois and deviously sentimental." (Manuel Brug)
Blog - Bigupset39 (https://blog.goo.ne.jp/bigupset39):
"Jens-Erik Aasbø, who sang the role of Daland, was the first singer out, but his voice was so good that he did not seem like a substitute."
March 2019
Der Rosenkavalier - R. Strauss (Polizeikommissar)
Stage direction: McVicar
Musical direction: Mallwitz
The Norwegian Opera & Ballet
Tidskriften Opera:
"In the role of the Police Inspector, however, Jens-Erik Aasbø left a big impression with a strong stage presence and a full-fledged bass voice - a well-developing singer." (Sören Tranberg)
Operatraveller.com:
"Jens-Erik Aasbø offered a full and resonant bass as the Polizeikommissar."
June 2018
Don Giovanni - Mozart (Il Commendatore)
Stage direction: Jones
Musical direction: Moulds
The Norwegian Opera & Ballet
"Jens-Erik Aasbø has a powerful bass voice as the Commendatore, the final scene brings goosebumps aplenty." (Edvarda Lana)
Scenekunst.no:
"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". (Hilde Halvorsrød)
Operatraveller.com:
"Jens-Erik Aasbø boomed lyrically as the Commendatore, the voice warm with complex depth."
Klassekampen:
"Jens-Erik Aasbø has an authoritarian voice which is well-suited for the Commendatore." (Magnus Andersson)
March 2018
Lucia di Lammermoor - Donizetti (Raimondo Bidebent)
Stage direction: Alden
Musical direction: Stasevska
The Norwegian Opera & Ballet
Klassiskmusikk.com:
"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." (Bodil Maroni Jensen)
June 2017
Tosca - Puccini (Angelotti)
Stage direction: Bieito
Musical direction: Steffens
The Norwegian Opera & Ballet
Scenekunst.no:
"Jens-Erik Aasbø (is) great and euphonious as a disturbed and terrified Angelotti." (Hilde Halvorsrød)
April 2017
Fidelio - Beethoven (Rocco)
Musical direction: Steffens
The Norwegian Opera & Ballet
Aftenposten:
"Jens-Erik Aasbø and Elisabeth Teige are the stars of this concert version of Beethoven's opera "Fidelio".
"(...) 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)
October 2016
Rusalka - Dvorak (Wassermann/Vodnìk)
Stage direction: Kosky
Musical direction: Nánási
Komische Oper Berlin
Bachtrack.com:
"(...) young Norwegian bass Jens-Erik Aasbø impressed with his deep booming voice and strong stage presence." (Ako Imamura)
Boulezian / boulezian.blogspot.com
"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." (Mark Berry)
Fatal Conclutions / hugoshirley.blogspot.com:
"Vodnìk, at least as presented by Jens-Erik Aasbø, had some sort of stoic Scandinavian hipster fisherman thing going on." (Hugo Shirley)
July 2016
Der fliegende Holländer - Wagner (Daland)
Stage direction: S. Niclasson
Musical direction: Balke
Opera på Skäret
Avesta Tidning:
"The bass Jens-Erik Aasbø almost flirts with the audience in his portrayal of Daland." (Anna Lundström)
Svenska Dagbladet:
"The Norwegian bass Jens-Erik Aasbø portrays the daddy as a jolly materialist, highlighting the comical side of the role." (Karin Helander)
November 2015
Die Zauberflöte - Mozart (Sarastro)
Stage direction: Mørk-Eidem
Musical direction: Søndergård
The Norwegian Opera & Ballet
Dagsavisen:
"Jens-Erik Aasbø as Sarastro sings beautifully, and with the required intensity for the orchestra to follow him, and not the other way around." (Hild Borchgrevink)
October 2014
Don Giovanni - Mozart (Il Commendatore)
Stage direction: Strassberger
Musical direction: Fogliani
The Norwegian Opera & Ballet
Bachtrack.com:
"Jens-Erik Aasbø’s Commendatore was one of great vocal power in the final scene." (Aksel Tollåli)
November 2011
I Cancelliraadens dage - Söderlind (Nils Graver/Gudbrand Sveum)
Stage direction: Rørvik
Musical direction: Loddgard
RingsakerOperaen
Vårt Land:
"The symbolic character Gravedigger Nils embodies a key role in the final act, through Jens-Erik Aasbøs rich voice which well suits the tragic-ironic character who buries the famine's victims." (Lars Flydal)