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Musical World

Nina Stemme

  • Soprano

Reviews

Nina Stemme Press reviews

Götterdämmerung (Brünnhilde), Bayerische Staatsoper München, Juni 2012

Salome (Salome), Severence Hall/Carnegie Hall, Cleveland Orchestra, Mai 2012

Tosca (Tosca), Wiener Staatsoper, März 2012

La Fanciulla del West (Minnie), Royal Opera Stockholm, Dezember 2011

Götterdämmerung (Brünnhilde), San Francisco Opera, Juni 2011

Siegfried (Brünnhilde), San Francisco Opera, Mai 2011

Fidelio (Leonore), Royal Opera House Covent Garden London, März 2011

Tannhäuser (Elisabeth), Opernhaus Zürich, Januar 2011

Walküre (Brünnhilde), Teatro alla Scala Milan, Dezember 2010

Walküre (Brünnhilde), San Francisco Opera, Juni 2010

Ariadne auf Naxos (Ariadne), The Metropolitan Opera New York, February 2010

Tristan und Isolde (Isolde), Royal Opera House London, September 2009

Salome (Salome), Teatro Liceu Barcelona, Juni 2009

Recital in Strasbourg, Februar 2009

Tristan und Isolde (Isolde), Opernhaus Zürich

Siegfried (Brünnhilde), Wiener Staatsoper, April 2008

Rosenkavalier (Marschallin), London Royal Festival Hall, April 2008

Forza del destino (Leonora), Wiener Staatsoper, März 2008

Walküre (Sieglinde), Wiener Staatsoper, Dezember 2007

Tristan und Isolde (Isolde), Festspiele Baden-Baden, September 2007

Tristan und Isolde (Isolde), Glyndebourne Festival Opera, August 2007

DVD Jenufa (Jenufa), Teatro del Liceu, Barcelona 2005

CD EMI: Vier letzte Lieder, Schlussszene Salome und Capriccio, 2007

Ariadne auf Naxos (Ariadne), Grand Théâtre de Genève, April 2007

Tannhäuser (Elisabeth), Grand Théâtre de Genève, September 2005

Tristan und Isolde (Isolde), Festspiele Bayreuth, Juli 2005

Faust (Marguerite), Oper Frankfurt, Februar 2005

Die Walküre (Sieglinde), Finnish National Opera, August 2004

Tristan und Isolde (Isolde), Glyndebourne Festival Opera, August 2007

«The thrilling triumph was Swedish soprano Nina Stemme, a seasoned yet youthful Isolde, who combined opulent vocal timbre with emotional intensity and physical allure. How often is that found in one Wagnerian soprano? Hammer on the door for returns.»

Fiona Maddocks, Evening Standard, 02.08.2007

«The thrilling triumph was Swedish soprano Nina Stemme, a seasoned yet youthful Isolde, who combined opulent vocal timbre with emotional intensity and physical allure. How often is that found in one Wagnerian soprano? Hammer on the door for returns.»

Fiona Maddocks, Evening Standard, 02.08.2007

«And his Isolde - Nina Stemme, nothing less than a sensation - could always sing on the interest not the capital. Striking in her beauty, the transformation from wounded, angry woman to intoxicated lover was more startling than I've ever seen and heard it. Her whole countenance softened in Act II to achieve ultimate inwardness in the Liebestod. The world's stages will be vying for her.»

The Independent, 03.08.2007

«And his Isolde - Nina Stemme, nothing less than a sensation - could always sing on the interest not the capital. Striking in her beauty, the transformation from wounded, angry woman to intoxicated lover was more startling than I've ever seen and heard it. Her whole countenance softened in Act II to achieve ultimate inwardness in the Liebestod. The world's stages will be vying for her.»

The Independent, 03.08.2007

«Stemme, on the other hand, is in glorious voice, as supple and subtle in her final Liebestod as she is fiercely impassioned in the opening sea voyage.»

Hilary Finch, The Times, 03.08.2007

«Stemme, on the other hand, is in glorious voice, as supple and subtle in her final Liebestod as she is fiercely impassioned in the opening sea voyage.»

Hilary Finch, The Times, 03.08.2007

«Nina Stemme is absolute mistress of the role of Isolde, alive to all its nuances of feeling as well as its extremes, and singing with unfailing sureness of pitch and warmth of tone.»

Rupert Christiansen, The Telegraph, 03.08.2007

«Nina Stemme is absolute mistress of the role of Isolde, alive to all its nuances of feeling as well as its extremes, and singing with unfailing sureness of pitch and warmth of tone.»

Rupert Christiansen, The Telegraph, 03.08.2007

«Stemme caused a sensation when she made her role debut as Isolde at Glyndebourne in 2003, and she went on to record the role with Placido Domingo. It's easy to see why he chose her. With a golden tone, endless reserves of power and subtle use of pianissimo, she could well be a benchmark Isolde for years to come.»

Warwick Thomposon, Bloomberg.com, 03.08.2007

«Stemme caused a sensation when she made her role debut as Isolde at Glyndebourne in 2003, and she went on to record the role with Placido Domingo. It's easy to see why he chose her. With a golden tone, endless reserves of power and subtle use of pianissimo, she could well be a benchmark Isolde for years to come.»

Warwick Thomposon, Bloomberg.com, 03.08.2007