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Angelika Kirchschlager

  • Mezzo-Soprano

Reviews

Angelika Kirchschlager press reviews

CD: Angelika Kirchschlager: The Songs of Johannes Brahms (volume 1)
Piano: Graham Johnson
Hyperion, 2010

“… rich, supple voice, with its particularly beautiful occasional pianissimo, is excellently suited to nearly all these songs.” … “Johnson’s arrangement of this recital and his exceptional accompanying skills, together with Kirchschlager’s voice and approach, almost always so appropriate to Brahms, make this a highly desirable disc.”
Lucy Beckett / International Record Review / August 2010


Her way with Brahms might initially seem understated and even non-interventionist, since she often gives the impression of letting the line carry the sense rather than doing anything self-consciously dramatic with the text. Gradually, however, you realise that a very fine imagination is at play, doing things with tone, colour and dynamics that are utterly beguiling.
Tim Ashley / The Guardian / 10 June 2010

The cover image shows the mezzo-soprano looking wistful in black against a grey background: perfect for a programme of Brahms songs, so often pensive in mood. They’re at their most immediately attractive when they come close to folk song, though this selection keeps springing pleasant surprises. Kirchschlager ... always sings with feeling, and Graham Johnson expertly judges the quirky piano accompaniments. His notes, as usual, are awesomely detailed.
Geoff Brown / The Times / 29 May, 2010

DVD: Sophie’s Choice, Royal Opera House 2002 (released 2010)
"In music tailored to her voice, Kirchschlager conveys Sophie's ambiguities with devastating transparency, always in the moment, her tone pristine, her diction immaculate. She has set the bar high. To date, no one else has done the role, but singing actresses for generations to come should find Kirchschlager an inspiration".
Matthew Gurewitsch / Opera News, August 2010
“In the title role, the vocally opulent Angelika Kirchschlager is simply stunning. On stage almost throughout, her performance is a vocal and visual tour de force. She makes utterly believable the extraordinary range of emotions that Maw has written into the part, moving between the poles of playful skittishness and a terrifying, tragic sense of loss and suffering.”
Opera Magazine, June 2010

“Angelika Kirchschlager’s mobile-featured Sophie wins our deepest sympathy and even puts Meryl Streep’s screen performance out of mind.”
BBC Music Magazine

Kurt Weill Festival - Song recital: Anhaltisches Theater Dessau, 27 February 2010

"Sie kam, sang und eroberte Dessau" ... "Mit dem alten Wienerlied "Es war in Petersdorf" entzückten beide ihr Publikum am Ende eines wundervollen Abends: grosse Kunst, mit Schlagobers gekrönt."
Mitteldeutsche Zeitung / 1 March 2010


Weill: Seven Deadly Sins / Gulbenkian Orchestra tour of Spain
Bellísima versión de la mezzosoprano Angelika Kirchschager,
Ramón Avello / Critica Musical (el comercio digital de Asturias)
Angelika Kirchschlager estuvo estupenda, con su voz bella y homogénea de mezzosoprano lírica, con flexibilidad, agilidad y extension.
Enrique Bonmati / La Opinión / 23 March 2010

Angelika Kirchschlager - An Austrian great arrives in Britten
Click here to read Jessica Duchan's interview with Angelika Kirchschlager ahead of her Aldeburgh Festival debut
The Independent / 3 June 2011

Click here to read italian interview with Angelika Kirchschlager ahead of La Scala recital
La Republica / May 2011

Von der Kunst, loslassen zu können
Angelika Kirchschlager. Im Theater an de Wien singt die österreichische Mezzosopranisten die Titelpartie in Benjamin Brittens packender Kammeroper "The Rape of Lucretia".
Peter Blaha / Bühne Magazine / February 2011
Click here to read full article


Recital with Simon Keenlyside / Wigmore Hall, London, Feb 2010

...she was on top form for a thrilling yet meticulous account of Erlkönig.
Martin Kettle / The Guardian / 4 February 2010

Hänsel und Gretel / Metropolitan Opera New York, Dec 2009
The inspired ensemble was led by Angelika Kirchschlager as a gently butch Hänsel and Miah Persson as an adorably bouncy Gretel, both of whom articulated David Pountney’s oh-so-British translation clearly.
Opera / March 2010

Recital / Alice Tully Hall, Lincoln Center, New York, Nov 2009

As Ms. Kirchschlager shaped the spacious, arching phrases of the first Brahms song, "Meine Liebe Ist Grün" ... she conveyed the poet's evocation of a lush, sun-drenched lilac bush, a symbol of his love. Yet the ardor evoked here is intoxicated by the natural fragrance. Ms. Kirchschlager captured this love-drunk state hauntingly through the shimmering and slightly disoriented quality she brought to her singing. ... Ms Kirchschlager has a rich, dusky-toned penetrating sound.
Anthony Tommasini / New York Times / November 30, 2009

Duet Recital with Barbara Bonney / Konzerthaus Wien, Nov 2009
"Herrlich schmiegte sich Kirchschlagers Mezzo an Bonneys Sopran, trug diesen Abend mit ihrem sanftsatten Timbre und ihrer entzückend jugendlichen und doch welftraulichen Bühnenpräsenz"
Wiener Zeitung / Marion Eigl / November 2009
One of the world's finest lyric mezzo-sopranos
Neil Fisher / The Times / October 2008
Her voice is among the finest of its type, wih a satiny texture, a glorious light -catching gleam, bell-like precision and an ideal colouristic range illuminated by intuitive, perceptive intelligence.
The Independent / May 2007
Even in this age of a million (it seems) mezzos of astonishing ability and musicianship, Kirchschlager stands out in both the art song and trouser role repertoires.
Time Out Chicago /March 2007
Angelika Kirchschlager, the mezzosoprano from Salzburg, is one of the best lieder singers we have.
New York Sun / December 2006

Angelika Kirchschlager CD Reviews