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Deborah Voigt

  • Soprano

Reviews

Deborah Voigt press reviews

“Deborah Voigt ... brought steely power and lyrical elegance to her first Met Senta ... Ms. Voigt’s musical vitality and vocal charisma were especially welcome.”
   – The New York Times, April 25th, 2010

“[Deborah Voigt] transformed what had been a routine opening night of Wagner’s Der Fliegende Hollände into a memorable revival at the Metropolitan Opera on Friday ... All in all, it was a satisfying evening that rose when Voigt commanded the stage.”
   – Associated Press, April 25th, 2010

Elektra, Metropolitan Opera, December 2009

Bullock survives, Voigt soars, in Met’s ‘Elektra’: “Voigt ... made every phrase count. In the soaring melody with which Chrysothemis sings of her longing for motherhood, she filled the hall with thrilling sound.”
   – Mike Silverman, Associated Press, December 16, 2009

Vulnerable to Wily to Deranged, With a Voice for Each: “The gleaming soprano of Deborah Voigt, who reprised the role she sang in the production's premiere in 1992, had no trouble cutting through the opulent orchestral textures.”
   – Vivien Schweitzer, New York Times, December 14, 2009

“Voigt ... has reinvented her soprano as an efficient, even instrument with a glint of steel.”
   – James Jorden, New York Post, December 14, 2009

“[Bullock] was paired with one of those dramatic sopranos who can make one’s hair stand on end—Deborah Voigt, as Elecktra’s sister, Chrysothemis. This is a signature role for Voigt, who sang the part when this production was first unveiled seventeen years ago. It makes sense for Chrysothemis to have a somewhat sunnier, more vibrant sound, since she represents life, family and unflagging hope for the future, in contrast with Elecktra’s obsessive lust for revenge. Voigt did, in fact, cut through the preposterously large Straussian orchestra a little more naturally and with more vibrancy and point than Bullock. In her rapturous delivery of Chrysothemis's plea for a fulfilling future with children of her own, Voigt gave the impression of an expert surfer, masterfully riding the oceanic wave of the roiling 100-piece orchestra. In the final scene, Bullock and Voigt complemented each other perfectly in terms of timbre and strength for the glorious, culminating duet.”
   – Opera News, March 2010