Georg Nigl press reviews
"Georg Nigl is a genius"
(Le Figaro, November 2011)
"Georg Nigl's attractively light-timbred voice deals with this music so easily that he is free to concentrate on details of characterization. This Austrian embodies Wozzeck totally. His face is quite extraordinarily responsive; I can't imagine that any viewer will ever forget this Wozzeck's devastatingly sad look of bafflement when the Doctor hints that Marie had been unfaithful." (International Record Review, November 2012)
"Nigl is the most convincing Orfeo I've heard since Nigel Rogers back in 1984. He animates the recitatives by putting the words and their rhetorical structures first, allied to which he has the smoothest, most lyrical upper register, which has a natural plangence even when he really sings out to reach the back of the theatre. This, of all things, makes one hang on his every word, but it would be as nothing if Nigl couldn't also cope with the terrifying technical demands of Orfeo's centerpiece aria "Possente spirto" with which he seeks to persuade Caronte to let him into the underworld. Nigl triumphs not only in terms of accuracy at the micro-ornamentation level but succeeds in making shapely phrases out of the most complex groupings of notes." (International Record Review, March 2011)
“…the disturbingly intelligent Georg Nigl [as Wozzeck] whose lyrical vulnerability and tragically blinded rebellion are deeply affecting, and make the evening such an unusual and intense experience.” (Neue Musikzeitung, December 2009)
“Excellent, among all of the cast, was the phenomenon that is Georg Nigl, who you may remember as a fantastic Wozzeck [at La Scala] but who here shows himself as a praiseworthy Orfeo.” (Corriere della Sera, September 2009)