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Musical World

Dorothea Roschmann

  • Soprano

Reviews

Dorothea Röschmann press reviews

Salzburg Festival – 'Don Giovanni' – August 2010

"The mature timbre of Dorothea Röschmann as Donna Elivra"
George Jahn, San Francisco Chronicle, 9 August 2010

Salzburg Festival – ‘Le nozze di Figaro’ – August 2009

"Dorothea Röschmann in exceptional form… An unusually veristic Countess, Ms. Röschmann phrases eloquently with just the ideal vocal weight and silver shimmer in her tone for the role."
Moore Parker, The Opera Critic, 16 August, 2009

"Seule rescapée de la distribution d’origine pour ce qui est des rôles principaux, Dorothea Röschmann n’a jamais été aussi convaincante: sa Comtesse névrotique, déchirée, folle d’amour et pourtant si faillible marque par sa sincérité, son engagement total et son feu intérieur, bien portés par une voix parfaitement conduite, nuancée et toujours aussi fine d’intentions – Più docile sono."
Yannick Millon, AltaMusica, 19 August, 2009

 

Deutsche Staatsoper, Berlin – ‘Lohengrin‘, April 2009

"Dorothea Röschmann stood out as a simply wonderful and very touching Elsa. With her old-fashioned way of singing, much like that of Elisabeth Grümmer, the dark colouring of her voice combined with superb, stylish phrasing made for a very moving experience."
Mostly Opera, 15 April 2009

"Und vor allem Elsa, "die Tugendhafte", von Dorothea Röschmann mit lyrischer Inbrunst verkörpert, himmelt hoch jauchzend."
Jürgen Otten, Frankfurter Rundschau, 7 April 2009

 

Salzburg Festival - ‘Don Giovanni’, July / August 2008

"Salzburg has one of the best [sopranos] in the world: Dorothea Röschmann, the German soprano. As Donna Elvira on Saturday night, she was simply perfect — a model singer, and a model musician. She could be an Elisabeth Schwarzkopf of our time, here at the Salzburg Festival — appearing in one Mozart opera after another, and singing lieder recitals."
Jay Nordlinger, New York Sun, 21 August 2008

"Ihr Singen ist es außerdem, und Gleiches gilt vor allem für Dorothea Röschmann (Donna Elvira), die mit ihrer Koloratursicherheit ein überzeugendes Relikt der Opera-seria-Tradition abgibt."
Susanne Benda, Stuttgarter Nachrichten, 31 July 2008
 

RECITAL REVIEWS

Barbican Centre, London – Angelika Kirschlager, Ian Bostridge, Thomas Quasthoff, Helmut Deutsch, Julius Drake - Schumann Quartets – 29 October 2009

"The very first song, with Röschmann and Kirchschlager warbling in intertwined melodic lines, was delicious enough to make your head spin... Röschmann struck a thrillingly intense note in the song Melancholy, which just for a moment hinted at something genuinely tragic. Even in this starry company, Roschmann stood out as something special."
Ivan Hewitt, The Telegraph, 30 October 2009

"In der Nacht was sung exquisitely by Röschmann."
Hilary Finch, The Times, 2 November 2009

"Time and place was forgotten when Röschmann sang her solo, Melancholie, giving lustrous voice to its despairing angst in the most heartfelt and perfectly sculpted arching line."
Hilary Finch, The Times, 2 November 2009

Wigmore Hall - Graham Johnson, 20 November 2008

"Some singers wet-mould melody until words dissolve into vocal beauty. Some skilfully steer the voice round every technical obstacle; others blind an audience with the science of their intellect. Dorothea Röschmann just sings. The hushed simplicity that Röschmann brought to Schumann's settings of five poems by Mary, Queen of Scots, gave them an intensity and feral force that is lost in more self-consciously dramatising performances. With Graham Johnson offering subtle empathy in Schumann's spare piano writing, the sudden flare of Röschmann's high register at the end of her Farewell to the World was searingly moving. With a vocal technique ballasted as boldly as this, Röschmann is also able to leap to the ringing top of her register with ease. The arching, Wagnerian melody of Hugo Wolf's An eine Aölsharfe was sung with the whole of her voice, and of her being."
Hilary Finch, The Times, 25 November 2008

Munich Festival – Prinzregentheater – Graham Johnson, 2 July 2008

"Bei Beethoven war jedes Wort zu verstehen, nur bei Wolfs textgezeugten Mörike-Liedern schwand die Dichtung etwas in der Fülle des Wohllauts. Die sympathisch-verschmitzte Sängerin rührte zuerst als Klärchen mit vollem Eisatz die Trommel und verabschiedete sich mit Mahlers komischem Selbstgefühl. So scharf Charakterisierendes wie das Flohlied liegen der Sopranistin besonders. Anders als früher trumpt sie bei nachdenklicheren Nummern nicht mehr mit Opernpathos auf. Schumanns Frauenlieben und Leben bestach gerade durch diskrete Schwärmerei zu der Graham Johnsons pianistische Zurueckhaltung wohltuend beitrug. In der Wunderhorn-Liedern gelang dem Begleiter das seltene Wunder, die Orchesterversionen vergessen zu machen. Die heikle Naivität dieser Lieder machte der Saengerin mit ihrem fülligen, mezzohaften Timbre keine Mühe. Deshalb war dieses ungewöhnlich facettenreiche Programm eine runde Sache."
Abendzeitung, 04 July 2008  

 

CONCERT REVIEWS

Klangforum Wien – Weill: ‘Die Dreigroschenoper’, June 2009

"Röschmann was splendidly scowly as the wronged Polly. Her duet with Burggraaf, playing Macheath’s other wife, was the epitome of a scorned woman’s fury."
Richard Morrison, The Times, 17 June 2009

Carnegie Hall – Mahler Cycle – Berliner Staatskapelle / Boulez, May 2009

"Röschmann’s voice showed a degree of color not often found in lyric sopranos, offering a suggestion of womanly depth, but still with the purity of tone needed for the childlike finale of the Fourth Symphony."
Fred Cohn, Opera News, August 2009

  

RECORDING REVIEWS

Mozart: Le nozze di Figaro (DVD) – Royal Opera House / Pappano
(Opus Arte, 2008)

"Dorothea Röschmann brings extraordinary tonal warmth to the Countess’ music, singing an emotionally devastating “Porgi amor” and an achingly nostalgic yet hopeful “Dove sono”. She also presents a formidable opponent for Gerald Finley’s Count in their blazing Act II dialogues."
Roger Pines, Opera News, July 2008

"Dorothea Röschmann’s Countess is an unusually active, passionate woman, and her voice has filled out surprisingly."
John Steane, Gramophone, August 2008