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Musical World

Mihoko Fujimura

  • Mezzo-Soprano


Mihoko Fujimura press reviews

Fricka in Das Rheingold und Die Walküre
Bayreuther Festspiele 2010

"Nur Mihoko Fujimura als Fricka überzeugte restlos", July 2010

"Bejubelt wurden ebenso.....und Mihoko Fujimura als Fricka", July 2010


Mahler 3
June 2010

The vocal movements benefited greatly from mezzo-soprano Mihoko Fujimura, who replaced Matthias Goerne in the orchestra's 2006 European tour, her immense artistic growth being most apparent in her intense projection of the Friedrich Nietzsche words.
David Patrick Stearns / Philadelphia Inquirer / 12 June 2010

Mahler 3
Bamberger Symphoniker / Jonathan Nott
May 2010

Der warm timbrierte Mezzo von Mihoko Fujimura mit tief empfundenem Ausdruck in die Urgründe des Seins taucht ('O Mensch, gib acht'). 
Egon Bezold- / 28 May 2010

Versunken und nachsinnend war der Ton der Nietzsche-Vertonung mit der vorzüglichen Solistin Mihoko Fujimura.
Die Rheinpfalz, May 2010

...der warm timbrierte Mezzo von Mihoko Fujimura mit tief empfundenem Ausdruck in die Urgründe des Seins taucht ('O Mensch, gib acht')., May 2010

Zarathrustras Nachtwanderlied aus Nietzsches Feder war bei der Mezzosopranistin Mihoko Fujimura bestens aufgehoben; mit kraftvoller Tiefe und klar intonierte sie das insistierende "Tief ist ihr Weh".
BNN, May 2010


Gurre-Lieder October 22 and 23 2009
Sinfonieorchester des Bayerischen Rundfunks / Mariss Jansons

"Mihoko Fujimura machte die Szene der Waldtaube zum Zentrum."
Abend Zeitung: Robert Braunmüller

"Mihoko Fujimura singt die Ballade vom Sterben Toves mit kristalliner Präzision."
Süddeutsche Zeitung: Egobert Tholl

"...die exzellenten Mihoko Fujimura (Waldtaube)" 
Die Presse

Bayeruther Festspiele 2009

Mihoko Fujimura was among the best of the principals as Kundry, doomed to centuries of reincarnated suffering for laughing at Christ on his way to Golgotha.
She is not as "mad" as Wagner would have her — he wrote her mad-scene for much of the opera's first two acts, first as the wild-eyed helper of the fellowship, and then as Klingsor's love slave programmed to seduce Parsifal.
But her singing is faultless, easily mastering the four-octave fortissimo Kundry theme. Her intonation was effortless. So was her pitch and phrasing.
George Jahn, San Francisco Chronicle, August 28 2009

The orchestra and chorus are, as ever, simply magnificent, and the excellent cast led by Mihoko Fujimura (Kundry).
Rupert Christiansen, The Telegraph, August 4 2009

Die Stars des Bayreuther “Parsifal“ sind Mihoko Fujimura als Kundry,  Christopher Ventris in der Titelpartie und Kwangchul Youn als Gurnemanz: Mihoko Fujimura ist eine hinreißend wandelbare Kundry,
Paul Winterer, Merkur Online, August 3 2009

Mihoko Fujimura als Kundry machte eine überzeugende Figur.
Joachim Lange, Der Standard, August 3 2009

Mihoko Fujimura als Kundry – mal Dienstmädchen in Wahnfried, mal im Outfit von Marlene Dietrich – ist darstellerisch hinreißend.
NeueMusikZeitung, August 2 2009

Wesendonck Lieder
Royal Festival Hall, London – 8 March 2008
Bavarian Radio Symphony Orchestra / Mariss Jansons

“A slender mezzo-soprano by the name of Mihoko Fujimura gave this all-Wagner evening its real kick, and turned in a stellar performance of blistering emotional force.
Anyone who caught Fujimura as Waltraute in Covent Garden's Ring should know just how much she can make of a little. So when it came to the Wesendonck Lieder - too often chalked up as mere Wagner ephemera to be battered into submission by some doughty dame - she took nothing for granted.

Instead she used the laser-beam focus of her voice to find the shadows and the light in poems that can often seem overblown; imbuing Schmerzen (Agonies) with the true desolation of its title, and admitting full-blown passion with a parting gasp only at the close of a gut-wrenching Träume. Discarding his baton, Jansons followed keenly, matching her expressive subtlety with grace and wonderment.
The Times / Neil Fisher / 11 March 2008

The Wesendonck Lieder, of mellower sentiments, were poignantly voiced by the mezzo soprano Mihoko Fujimura with a timbre that could express tenderness but at the same time could bloom passionately.
Telegraph / Geoffrey Norris / 11 March 2008

“It was followed by an oasis of calm in the Wesendonck-Lieder (originally with piano accompaniment) for which most of the players vacated the stage to a largish chamber orchestra, which accompanied Mihoko Fujimura, one of the best mezzos for this repertoire now before the public, in orchestrations mostly by Mottl. Whether the six songs together actually make for a good cycle is questionable. She sang with suitable intimacy, allowing herself occasionally a swelling of her tone to take account of the large auditorium, and Jansons backed her with subtlety and discretion.
Musical Pointers / Peter Grahame Woolf

Royal Opera House, Covent Garden

“When, as the first-night audience discriminatingly acknowledged by its applause at curtain-call, the best individual performance is that of the Waltraute – the Japanese mezzo Mihoko Fujimura – it is a harsh judgement on the principals.  This was Fujimura’s house debut and, although her character appears only once and relatively briefly in Act 1, she dominated the stage, singing with velvety tone, finesse, superb diction and expressive understanding of the text.”
Opera / Michael Kennedy

“Mihoko Fujimura’s beautifully sung Waltraute is a compelling study of panic verging on hysteria.”
The Times / Morrison

“Mihoko Fujimura was a warmly sympathetic Waltraute.”
Telegraph / Christiansen

“Mihoko Fujimura's Waltraute, the fellow-Valkyrie who prods Brunnhilde towards understanding, produces magnificently burnished oboe-like tone in her mezzo register.”
Sydney Morning Herald / Covell

“…not least in the great scene with Mihoko Fujimura's sensationally good Waltraute - is wholeheartedly winning.”
Independent / Seckerson

“I particularly liked Mihoko Fujimura’s Waltraute and Marina Poplavskaya’s Third Norn, the latter a Sieglinde in the making.”
Financial Times / Clarke

“Mihoko Fujimura's exemplary Waltraute balances clarity with remarkable volume from so slight a frame, turning her argument with Brunnhilde into the most effective scene in the whole six-hour show.”
Observer / Holden

“The other real class performance comes from the Japanese mezzo Mihoko Fujimura, as a Waltraute who has had a radical makeover — from hollow-eyed maenad to warrior princess — since the end of Die Walküre. The Twilight of the Gods has clearly done wonders for Brünnhilde’s sister, if nobody else.”
Sunday Times / Canning

“Mihoko Fujimura, whose mezzo is capable of heft and delicacy, makes a noble Waltraute…”
Sunday Telegraph / John Allison

“Matching Lisa Gasteen’s vocal security and stunning commitment as Brünnhilde was Mihoko Fujimura’s rich mezzo voice as Waltraute, giving full vent to a sister’s anguish in a stunning house debut.”
Seen and Heard / Pritchard