'I WILL COME TO YOU ' World Premiere. CHESS in Concert Dalhalla

 text: Emma Ulvaeus/Björn Ulvaeus

First Night Concert For Chess

Chess premiered in London at the Prince Edward Theatre on May 14, 1986

First Night Concert For 'Chess'

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Elaine Paige recalls moving chat with ABBA star on how age impacts their music

SATURDAY 1ST SEP, 2018
Elaine Paige recalls moving chat with ABBA star on how age impacts their music

They worked closely together on hit musical ‘Chess’ in the early 1980s, before reuniting recently at the second Mamma Mia movie premiere.

However, while they’re both still huge names in music, theatre legend Elaine Paige, 70, has admitted that ageing has not only impacted her own music and life, but that of ABBA star Benny Andersson too.

The pair became close in the ’80s when Benny and his ABBA co-star Bjorn helped pen some of the biggest hits of musical ‘Chess’, alongside Tim Rice. Elaine was one of the leading stars in the original line-up, spending lengthy periods working on the music with the legendary song-writers.

Now, speaking in an exclusive chat with Starts at 60, the star of musicals ‘Evita’ and ‘Cats’ recalled a memorable conversation she once had with Benny about getting older, and how it has affected his song-writing.

“I know having spoken to Benny about song-writing, about this very thing – because obviously he’s over 60 now – he said when he was young and starting out with ABBA he would just sit down at the piano every day and these songs would topple out without him even trying,” she said.

“Now he says he still sits down at the piano every day, but he really has to work at it.”



Elaine has felt the impact of age herself, and she added: “Everything gets harder as you get older because everything is wearing out a bit and you slow down, but it brings other things. Maturity brings good things in your life that you don’t have when you’re young. I think every decade of life brings something new and that should be embraced.”

While Elaine and Benny haven’t remained close over the years, they recently enjoyed a reunion at the Mamma Mia, Here We Go Again! premiere in London and spent the time reminiscing about the old days.



“It was so fantastic to see them,” she said. “They were both very warm towards me, we started reminiscing right of the bat.

“It was just so wonderful to see them again after all these years. We’ve made a pact that should I pop over to Sweden at all during the summer months, which I may well do, we’ve all agreed to have lunch or dinner together.

“We can sit and talk about the good old days… except their good old days are good days again!”


Elaine shot to fame right across the world after starring as Eva Peron in the first production of Andrew Lloyd Webber’s ‘Evita’ in 1978. It kickstarted a huge career for her on the stage – much of which was spent working with music legend Lloyd Webber from then on.

“I met Andrew and Tim Rice before ‘Evita’ in ‘Jesus Christ Superstar’. I auditioned to get into the chorus and they were at the audition,” she recalled. “My memory was that they were very polite to me, very complimentary, but it wasn’t really until ‘Evita’ that I got to really know them.”

She added of Lloyd Webber: “He’s a very intelligent man, a quiet genius really. He’s a bright and intelligent man, always one step ahead of what the public are wanting. He’d come up with some brilliant ideas that everyone else would think are strange!”



Elaine is now in a happy relationship with younger partner Justin Mallinson – 23 years her junior – who she’s previously credited with ‘keeping her young’.

“I think being around young people [is great], I have some great friends who are younger, with some my own age and some older who are in their 80s who you’d never believe were in their 80s. They behave as young as I am or younger,” she said.

The star is now preparing to tour Australia in October, recreating some classic hit songs from the likes of Carole King, Paul Simon and Lennon Or McCartney – and she explained the shows will focus heavily on the song-writers behind the hits, and the stories behind their creation.

“They’re part of my early, youthful life. Lyricists and song-writers don’t get their just deserts. When people hear music, they know they like a song or whatever but they don’t really pay attention to who wrote it,” she said.

While Elaine doesn’t write her songs herself, she said she has a heavy vetting process when choosing one to perform – ensuring the lyrics mean something to her.

“Choosing songs to sing is a very personal thing,” she explained. “They have to say something for me as if I had written them myself. I want songs to be able to speak for me, and as I’m not a writer, I have to find songs that lyrically say the things that I’d want to say.”

Elaine Paige will perform a series of concerts across Australia in October. To buy tickets, visit mjrpresents.com

https://startsat60.com/entertainment/arts/music/elaine-paige-chat-abba-star-benny-andersson-age-music

Chess - Stockholm on september 8, 2018

Chess - Stockholm on september 8, 2018 ...




Svenska Teatern är på slutsträckan med repetitionerna för musikalen Chess som har premiär om en månad. I måndags sjöng hela ensemblen igenom pjäsen på svenska för första gången med orkester – och ingen mindre än kompositören och Abba-profilen Benny Andersson var på plats

The Swedish Theater is at the end of the rehearsals of the chess musical, which is premiere in a month. On Monday, the entire ensemble sang through the Swedish play for the first time with orchestra - and no less than the composer and Abba profile Benny Andersson were in place



https://www.hbl.fi/artikel/abba-benny-berommer-svenska-teaterns-musikal-chess-det-later-fantastiskt-bra/

https://www.facebook.com/abbaregistro/posts/686884468326707

Chess in London, New York City and Syracuse.

ARTS Grandmaster flashiness dominates CNY Playhouse ‘Chess’ match play
ByJames MacKillopPosted on April 18, 2018 The cast of CNY Playhouse's "Chess" stand in a line across the stage as part of the performance, lit by overhead stage lights. CAST MEMBERS OF CENTRAL NEW YORK PLAYHOUSE’S CHESS. (COURTESY OF AMELIA BEAMISH)

We approach a cult musical differently from your garden-variety hit. With a hit like Guys and Dolls or South Pacific, we don’t expect surprises and are comforted by familiarity. A show cannot become a cult favorite unless it has been wounded, like with a host of savage reviews or disastrous box office, but is championed by an impassioned minority convinced against the odds of the show’s brilliance that wants us to share that vision.

Director Robert G. Searle is a cultist for the Tim Rice-ABBA musical Chess. He makes a compelling case for the show, which runs through April 28 at Shoppingtown’s Central New York Playhouse.

Part of being in the cult is remembering the show’s anfractuous history, which is more demanding than knowing all the characters in the Star Wars franchise. The key moment is the 1988 failure of the Broadway production, based on a different book (by Richard Nelson) and a hamhanded vandalizing of the score. Previous to that Chess had run for three years in London. And ultimately, history is favoring the cultists. This Syracuse production runs concurrently with revivals of the Rice version on both Broadway and London’s West End.

In a 2016 interview with the Syracuse New Times, Tim Rice described Chess as his proudest achievement. A political allegory for the Cold War during the Reagan administration, Chess is a rock opera that first appeared in a 1984 two-disc concept album, much like its Rice siblings Jesus Christ Superstar and Evita.

The score by Benny Andersson and Björn Ulvaeus of ABBA sounds nothing like the bubble gum of their Mamma Mia. They might have been aiming toward Andrew Lloyd Webber, but one also hears disparate echoes from Gilbert & Sullivan and Richard Rodgers. Serious cultists hear remote allusions in the top solo “Anthem” to the ABBA song “Our Last Summer.”

In a candid program note, director Searle acknowledges that his motivation to revive Chess has long been in gestation, and it shows. He has superior voices in all the key roles, such as Paul Thompson as the loutish American Freddie Trumper, Benjamin J. Sills as layered and sympathetic Soviet Anatoly Sergievsky, and Ceara Windhausen (nearly unrecognizable in a black wig) as Florence Vassy, the woman who comes between them. Frequently dominating the scene is Steve Gamba as the whitegloved Arbiter of the matches.

Searle’s commitment to quality extends through the supporting players, including an excellent Kate Crawford as Anatoly’s wronged wife Svetlana, new face Garrett Robinson as the enigmatic Soviet coach Molokov, and Christopher James as de Courcey, his American counterpart. Confidence in Searle’s commitment is so high that five of the singers-dancers in the 14-person ensemble have been leads in recent productions here and elsewhere.

Chess was partially inspired by the highly publicized matches in the 1970s between grandmaster Bobby Fischer, one of the most toxic figures ever to appear in American public life, and the press-friendly Soviet masters, Viktor Korchnoi and Anatoly Karpov. Yet Rice has made clear that the emergence of the concept album in 1984 was intended to comment on Ronald Reagan’s last eruption of Cold War rhetoric, incidentally linked to a fictionalized account of U.S.-Soviet chess matches.

Changes in the political climate led to rewrites of the show just as drastic as the unfortunate New York City opening. Freddie Trumper, despite his prominent personal failings, is far less a miscreant than Fischer was. None of the original matches were in Thailand as they are here, prompting one of the show’s best numbers, “One Night in Bangkok,” also a Top 40 smash in 1984. And Fischer did not arrive with a girlfriend.

The basis of the Chess cult is not its politics or even its piquant plot. That relies on the music, of course, and its plangent expression. Music director Abel Searor has assembled an eight-piece orchestra, including two brass players, and his keyboard can deliver both a harp and a harpsichord. From the overture and onward, the ABBA score can be gripping. Splendid as Freddie’s numbers like “Commie Newspapers” are, we see in the first act that Rice’s book has favored Florence, such as the affecting solo “Nobody’s Side,” and Anatoly’s powerhouse first-act finale, “Anthem.”

More musical riches are found in the second act, including a big solo for Freddie, “Pity the Child,” and adulterous love-making by Anatoly and Florence in “You and I.” Anatoly’s betrayed wife Svetlana, an aspect of the plot audiences may be slow to embrace, has her plaintive moment in “Someone Else’s Story.” Another winning solo is Molokov’s ironic “Soviet Machine.”

Press comments on the original London version praised its elaborate production values, impossible to reproduce in Shoppingtown. The task of evoking them falls to choreographer Shannon Tompkins. With what space she has been given, Tompkins has the ensemble, dressed in either black or white, depict the conflict on the chessboard, with arrogant rooks and bishops knocking down hapless pawns. It’s one of the cleverest things she has ever done.

Thirty years after bombing on Broadway, Chess is having its day, simultaneously in London, New York City and Syracuse.

https://www.syracusenewtimes.com/grandmaster-flashiness-dominates-cny-playhouse-chess-match-play/

As ‘Chess’ returns to the stage, its makers recall the day their baby bombed on Broadway.

As ‘Chess’ returns to the stage, its makers recall the day their baby bombed on Broadway.



Opening gambit: Björn Ulvaeus and Benny Andersson with their wives Lena Kallersjo and Mona Norklit on opening night at London’s Prince Edward Theatre, May 14 1986 CREDIT: ALAN DAVIDSON

Dominic Cavendish reports
Red Square, Moscow, February 1983. It’s the early hours of the morning, at the height of the Cold War, and one of the most famous pop stars in the world, Abba’s Björn Ulvaeus, is shambling back to his hotel after a long night spent drinking and dancing. “I’d had too many beers and I decided to relieve myself against one of the buildings,” he recalls. “But as I did so, a group of soldiers came storming outside carrying guns and shouting. I thought, ‘OK, it’s the Gulag next, something terrible is going to happen’. But as they came closer, one of them pointed at my face and said, “Are you…?” Luckily, I had a bunch of photos of Abba in my pocket. I produced one, signed it, smiled… and all was well!”

Ulvaeus was in Moscow on a fact-finding mission with fellow Abba frontman Benny Andersson. The lyricist Tim Rice, fresh from his successes with Jesus Christ Superstar and Evita, had invited them to collaborate on a new stage musical – Chess, an audacious fable about the tense East-West stand-off, combining the era’s politicised US/USSR grandmaster chess tournaments with an anguished love story played out across the Iron Curtain. Both Andersson and Ulvaeus, who had given their final live performances with Abba three years earlier, had leapt at the chance of a fresh departure.

Fast forward to April 28 1988, and Ulvaeus is reeling in a different way. Two years after its premiere in the West End (where it would run until 1989), Chess had just opened on Broadway – to breathtakingly stinking reviews. Frank Rich, the critic from The New York Times known as “the Butcher of Broadway”, was so remorseless (“War is hell, and, for… the audience, Chess sometimes comes remarkably close”) that his review would later be seen as a factor in the show’s early closure two months later, a $6 million (£4.2 million) flop. Ulvaeus, dumbstruck by the vitriol, was rushed to hospital suffering from chest pains. “It was one of the worst experiences of my professional life,” he says now. “A crushing defeat. It bombed completely.”


Today, as Chess prepares for its first major London revival since that 1986 West End run – in a semi-staged production at the Coliseum – Ulvaeus, Andersson and Rice can look back on that experience comfortable in the knowledge that they have all gone on to achieve great commercial success into their 70s. Rice’s involvement with Chess left him financially wiped out but subsequent, lucrative triumphs with Disney’s Aladdin, Beauty and the Beast and The Lion King more than compensated. Meanwhile, thanks in no small part to the stage and screen success of Mamma Mia! (a movie sequel of which arrives this summer), Abba continues to be a money-spinning, generation-spanning global phenomenon. “It’s incredible to us that those songs are still popular,” Andersson enthuses. “Unbelievable,” Ulvaeus agrees. “We’re still talking about Abba and our last time all together live on stage was in Tokyo, in 1980, I think – so long ago.”

And yet it’s clear that for all three men, Chess involved so much love, labour and heartbreak it remains unfinished business.

“There were many problems along the way,” sighs Andersson, who might pass for a professor of philosophy with his grey beard and intense, bespectacled gaze. “The idea of doing a musical about chess was so boring. I said, ‘Yes, that’s the challenge we need!’” The softly spoken Ulvaeus agrees: “The characters could have been ice hockey players for all I cared. What really drew me in was the Cold War. The Soviet Union always loomed large and ominous over us in Sweden. I used to wonder what I would do if they invaded. My conclusion was that I would rather die than live under the Communist yoke.” Did Andersson feel that way? He shrugs. “For Bjorn it was a real threat – but I always thought, ‘Well, we have Finland between us!’”

As with Evita and Jesus Christ Superstar before it, the music for Chess was first released as an album, in 1984, before the production was taken to the stage. Nevertheless, the plot for a full-blown musical was already in place: it centred on a brash American grandmaster, inspired by Bobby Fischer, and a defecting Soviet grandmaster (a cross between Boris Spassky, whose Reykjavik World Chess Championship match with Fischer in 1972 was a Cold War showdown moment, and Viktor Korchnoi, who defected to the West). Romantically “defecting” from the American to the Russian was the heroine Florence (a part conceived for Elaine Paige, then Rice’s lover) while the Russian’s spurned wife Svetlana helped to complicate relations further.


The double-album, a mixture of Abba-esque pop, rock and anthemic belters, was an instant hit. One Night in Bangkok sold three million copies and I Know Him So Well – the meeting between Florence and Svetlana, as sung by Paige and Barbara Dickson – topped the UK charts for four weeks. Plans to press ahead with a stage show on both sides of the Atlantic became unstoppable and the flamboyant Michael Bennett, who had made his name with A Chorus Line in 1975, was signed up to direct. In his 2015 book Razzle Dazzle, a colourful portrait of Broadway in the Eighties, American journalist Michael Riedel writes: “Bennett was usually high when he worked on Chess. He would do lines of cocaine on his office desk.” His ideas took on extravagant proportions – envisaging a giant chess-board set that could tilt and shift, becoming a mountain range or a hotel interior. The piece de resistance would be a “vidiwall”, comprising 128 TV monitors, to relay everything from individual chess moves to contextualising history.

Tragically, Bennett was never able to oversee his vision on stage. Shortly before rehearsals for the London premiere began, he was diagnosed with Aids. He abruptly departed the production and died a year later, of a related cancer. “It was tragic about Michael Bennett but it was a tragedy for the show, too,” says Andersson. “Everything was in place, and we never quite found out what his ideas were. It might have been staggering. We will never know.”

The immediate consequence of Bennett’s departure was, says Rice, “an atmosphere of panic”. Andersson agrees: “It was a very testing time”. Trevor Nunn came to the rescue, starting work only two months before the first previews. “The costs doubled to £4 million,” says Rice. “Because Trevor brought in new elements and his own team, we were almost paying for two musicals.” Despite the outlay – which at the time made Chess the most expensive show in West End history – the production was bedevilled by technical hitches: the chess-board set refused to rotate, and the editing for the “vidiwall” was sluggish.


Then previews threw up another challenge – audiences responded far more warmly to the first half – triggering urgent rewrites, even as the performance was under way. According to the show’s orchestrator Anders Eljas: “While the audience was watching the first act, we had 10 notators on their knees [in the foyer] rewriting the music.” Can Rice verify this account? “It’s not impossible,” he says. “There was no let-up.” Andersson chips in, laughing: “Do you remember on the opening night, the music started but the curtain didn’t go up?” “Didn’t it?” Rice replies. “I think I just headed straight for the bar.”

Yet the 11th hour revisions averted disaster and glowing reviews sustained a three-year run. Michael Ball, who was in Les Miserables round the corner at the Palace, and joins this new revival – playing Anatoly – remembers it well. “You knew Chess would have a decent run,” he says. “The score was amazing. And the set sounded extraordinary. Enough people were going: ‘I have to see this’.”

Why didn’t the same rules apply in New York? For the American production, changes were made – and not all for the better. The show was reconceived as a “book musical” and American playwright Richard Nelson was brought in by Nunn, who also wanted a different scenic approach, involving moving towers. Since these proved almost impossible to computer-operate, men were placed inside them to wheel them around, but they kept bumping into each other. A final nail in the coffin was the decision to make Florence an American and bring the action up to date. “The Cold War was fading away – it kept having to be written to take account of perestroika,” says Rice. “Everybody got it wrong.”

Rice was reportedly so furious that he was quoted as saying he was going to punch Nunn. Today, he’s a model of diplomacy. “I wouldn’t have said we were as one but the director is the boss. You had to agree because it might have worked.” It didn’t though? He shakes his head. “The drubbing was expected.”

Yet, 30 years on, Rice, Ulvaeus and Andersson are taking another chance on Chess. Why can’t they let it alone? Well, to borrow a line from Abba, a lot of fans have come up in the intervening years to say thank you for the music; the Chess soundtrack remains admired. And besides, this new version (which features the ENO’s orchestra and chorus) will, under the supervision of feted musicals director Laurence Connor, strip things to their essentials. “At last,” says Rice, grinning “we’ll get back to basics, and to the best of it”. It’s a risky move – but it might just work.

Chess is at the Coliseum, London WC2, from April 26 to June 2.



Chess first ran at the Prince Edward Theatre in 1986 CREDIT: REX/SHUTTERSTOCK

https://www.telegraph.co.uk/theatre/what-to-see/chess-bombed-broadway-one-worst-experiences-life/

ABBA THE MUSEUM IS EXPANDING!

ABBA THE MUSEUM IS EXPANDING!
WORLD PREMIERE OF THE INTERACTIVE EXHIBITION ABOUT THE POP SENSATION ABBA TO BE UNVEILED AT ABBA THE MUSEUM IN MAY 2018!

It has been 36 years since Sweden's most successful music export stopped performing together, but their songs are played more than ever today. Five years after the museum opened, a whole new exhibition about the group's members will be unveiled at ABBA The Museum in Stockholm. It is an exhibition that shows what they have been doing since their time with ABBA. Visitors are taken on a journey through decades of music, with the focus on Anni-Frid, Björn, Benny and Agnetha. Interactive elements are mixed with new chapters in this permanent story of music. Because some music never dies – it multiplies! The exhibition will open to the general public on 8 May 2018.

- It covers just over 35 years and looks at a range of exciting musical collaborations pursued by Anni-Frid, Björn, Benny and Agnetha. Portraying some of these has been an immense and interesting challenge. The success of ABBA created a platform for these four artists to develop different personal projects without having to think about anything but ensuring that the result was the best that they could possibly create and something about which they could be proud. We look at the musicals, solo albums and films in a digital and analogue approach, and include new interviews. In keeping with the style of ABBA The Museum, we create imaginative environments with exciting interactivity, says Ingmarie Halling, Creative Director/Curator, ABBA The Museum.

- This exhibition is a welcome and important addition to ABBA The Museum. We want to show visitors that ABBA is still around us today and that the band members have managed to keep their creativity alive throughout all these years. It has been very enjoyable working on this exhibition and seeing it come to fruition, in terms of both the content and the people involved in it. Now another piece of the puzzle has been added to the story about the four band members, which continues to grow! I can hardly wait until we open the exhibition to visitors in May, says Caroline Fagerlind, Museum Director, ABBA The Museum.

Photographer: Ivan da Silva för Zap PR

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– Anything can happen – and has happened – when creativity is allowed to flow. The new exhibition will be full of gems, says Anni-Frid Lyngstad.

– Because we pushed our creativity in so many directions after the ABBA years, I think the new exhibition is like a wonderful amusement park. And the most fantastic thing of all is that the journey never ends. We are on our way into a new, exciting adventure, there is more to come!, says Björn Ulvaeus.

– We never really bade farewell to one another. We wanted to try new things, and the time never seemed right for a reunion. Yet the music has, of course, never left me. Much of what we achieved during the years after ABBA is now presented in the exhibition, says Benny Andersson.

– The ABBA story did not end in 1982. One thing led to another, and the journey continued. We now see that in this exhibition, says Agnetha Fältskog.

from Abba Museum Page
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https://news.cision.com/zap-pr/r/abba-the-museum-is-expanding-,c2487755

Benny Andersson and Tim Rice interview

Benny Andersson and Tim Rice interview
Listen the full interview of Benny Andersson and Tim Rice for the BBC Radio recorded live from the rehearsal room of Chess The Musical (March 22nd, 2018)
Collaboration Nina Rios

I know it so well... ABBA's musical Chess back in West End

Hoy en Standard.co.uk
Benny: “Chess — it is such a boring subject! But that’s what turned Bjorn and I onto it. We thought, ‘That must be impossible to write a musical about, let’s do that.”
Benny added: “There’ll be 120 people on stage, a 47-piece orch-estra, 50 choir, the principals. I’m very proud of what we did. The corpse is still moving! It’s still being performed. It is because it is a very powerful score.”
Sir Tim said: “It’s basically an operatic concert.”


I know it so well... ABBA's musical Chess back in West End
Benny Andersson and Björn Ulvaeus team up with Sir Tim Rice for the show about the most “boring” subject in the world

Evening Standard Arts In Association With

I know it so well... ABBA's musical Chess back in West End


ALISTAIR FOSTER
Wednesday 22 November 2017 11:36

Knowing me knowing you: Benny Andersson and Sir Tim Rice Alex Lentati


Benny Andersson has revealed he and ABBA bandmate Björn Ulvaeus picked chess as the subject of their first ever musical because it was the most “boring” subject they could think of.

Chess, their first project after ABBA split in 1982, returns to the West End in April for the first time since its initial run here closed in 1989.

The show, with lyrics by Sir Tim Rice, is set against the background of the Cold War as superpowers try to manipulate a chess championship. It features songs I Know Him So Well and One Night In Bangkok. Andersson, 70, said: “Chess — it is such a boring subject! But that’s what turned Bjorn and I onto it. We thought, ‘That must be impossible to write a musical about, let’s do that.”

Originally a concept album, it opened in the West End in 1986 starring Elaine Paige. The new show will be at The Coliseum, with cast to be announced.


https://www.standard.co.uk/goingout/arts/i-know-it-so-well-abbas-musical-chess-back-in-west-end-a3698296.html

Björn Ulvaeus: "pensé que estaba a punto de morir"

BROADWAY
Björn Ulvaeus: ”Trodde jag var nära döden”
Vaknade med bröstsmärtor i New York efter floppen med ”Chess”



NÖJEsön 24 jan 2016
Att ”Chess” floppade i New York på slutet på 80-talet blev för mycket för Björn Ulvaeus.
När musikalen hade lagts ned vaknade han med bröstsmärtor och fick spendera tre dagar på sjukhus.
– Jag trodde att jag var nära döden, alldeles ensam i New York. Det var vidrigt, säger han i en ”Värvet”-intervju.

I nästa avsnitt av podden ”Värvet”, som släpps på måndag, berättar Björn Ulvaeus om det han ångrar allra mest i sin karriär – att han gick med på att ta ”Chess” till Broadway.
Musikalen hade varit en hit i London, men i New York gick den inte hem. New York Times kritiker Frank Rich sågade den totalt.
– Han var allsmäktig. Om han sablade ner något så dog det, säger Björn Ulveus i podden.
– Han hade en möjlighet att visa sin makt, eller så tyckte han så illa om den som han skrev. Det blev i alla fall ett hejdundrande fiasko.
Trodde det var en hjärtattack
”Chess” lades ned efter två månader och Björn Ulvaeus tog nederlaget hårt.
– Oj vad det kändes. Och det var tungt att komma tillbaka efter det, säger han i ”Värvet”.
– Jag vaknade mitt i natten och hade någon slags smärta i bröstet. Jag tänkte, nu får jag en hjärtattack.
Var alldeles ensam
Björn Ulvaeus var kvar själv i New York – alla hans kollegor hade åkt hem. Han tog sig till ett sjukhus, där han blev kvar i tre dagar.
– Det var som tur var ingen hjärtinfarkt, men det var något nervöst betingat som jag drabbades av.
– Jag trodde att jag var nära döden, alldeles ensam i New York. Det var vidri

http://www.aftonbladet.se/nojesbladet/article22141948.ab

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translation google

El "Ajedrez" fracasó en Nueva York a finales de los años 80 fue demasiado para Björn Ulvaeus.
Cuando el musical se había gastado, se despertó con dolores en el pecho y tuvo que pasar tres días en el hospital.
- Pensé que era cerca de la muerte, y solo Nueva York. Era repugnante, dice en un "patio" -Entrevista.
La siguiente sección de la vaina "patio", publicado el lunes, dice Björn Ulvaeus si él lamenta la mayor parte de su carrera - accedió a tomar "ajedrez" a Broadway.

El musical fue un éxito en Londres, pero en Nueva York no fue a su casa. El New York Times Frank Rich aserrado del total.

- Él era omnipotente. Si sablade ligeramente hacia abajo por lo que murió, dice Björn Ulveus en la vaina.
- Tenía una oportunidad para mostrar su poder, o al menos eso se sintió tan mal por ello que escribió. Era de todos modos un tremendo fiasco.

Pensó que era un ataque al corazón
"Ajedrez" fue cerrado durante dos meses y Björn Ulvaeus tomó la dura derrota.
- Oh, cómo se sentía. Y era difícil volver después de eso, se dice en el "patio" .
- Me desperté en medio de la noche y tenía algún tipo de dolor en el pecho. Pensé, ahora tengo un ataque al corazón.

Estaba solo
Björn Ulvaeus se dejó a sí mismo en Nueva York - todos sus colegas habían ido a casa. Tomó a sí mismo a un hospital, donde permaneció durante tres días.
- Había afortunadamente sin ataque al corazón, pero era un poco nervioso contingente que sufrí.
- Pensé que era cerca de la muerte, y solo Nueva York. Era repugnante.


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Björn Ulvaeus: "pensó que yo estaba a punto de morir"
Se despertó con dolores en el pecho en Nueva York después del flop con "ajedrez"


PLACERDom 24 de enero de, el año 2016
El "Ajedrez" fracasó en Nueva York a finales de los años 80 fue demasiado para Björn Ulvaeus.
Cuando el musical se había gastado, se despertó con dolores en el pecho y tuvo que pasar tres días en el hospital.
- Pensé que era cerca de la muerte, y solo Nueva York. Era repugnante, dice en un "patio" -Entrevista.

La siguiente sección de la vaina "patio", publicado el lunes, dice Björn Ulvaeus si él lamenta la mayor parte de su carrera - accedió a tomar "ajedrez" a Broadway.
El musical fue un éxito en Londres, pero en Nueva York no fue a su casa. El New York Times Frank Rich aserrado del total.
- Él era omnipotente. Si sablade ligeramente hacia abajo por lo que murió, dice Björn Ulveus en la vaina.
- Tenía una oportunidad para mostrar su poder, o al menos eso se sintió tan mal por ello que escribió. Era de todos modos un tremendo fiasco.
Pensó que era un ataque al corazón
"Ajedrez" fue cerrado durante dos meses y Björn Ulvaeus tomó la dura derrota.
- Oh, cómo se sentía. Y era difícil volver después de eso, se dice en el "patio" .
- Me desperté en medio de la noche y tenía algún tipo de dolor en el pecho. Pensé, ahora tengo un ataque al corazón.
Estaba solo
Björn Ulvaeus se dejó a sí mismo en Nueva York - todos sus colegas habían ido a casa. Tomó a sí mismo a un hospital, donde permaneció durante tres días.
- Había afortunadamente sin ataque al corazón, pero era un poco nervioso contingente que sufrí.
- Pensé que era cerca de la muerte, y solo Nueva York. Era repugnante.

https://www.youtube.com/watch?v=j7NhOb1CbHs&list=PL65F4A99DB2E9570A

BENNY Y BJORN CHESS