Reviews

 

“The German soprano, along with her husband, Nicolas Testé, gave an excellent concert and received an ovation …

Damrau (who made three outfit changes) was overcome with emotion by the welcome ovation for “Una voce poco fa” from Rossini’s ‘Barber,’ showing a freshness and spontaneity that immediately conquered the audience. And in “Nobles seigneurs” from ‘Les huguenots’ and “Ombre légère” of ‘Dinorah’ both from Meyerbeer, the German continued to exhibit her spark, agility and perfect diction.”

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This glorious new album finds Diana Damrau in sparkling, top-notch form. The exacting demands that Meyerbeer makes on the soprano voice are shrugged off by a diva in her prime.

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“Diana Damrau at the Teatro del Lago de Frutillar. A soprano with extraordinary vocal ability, technically perfect both in expression and in stylistic adaptation, is both an artist with a very great dramatic impression and an interpreter that completely delivered in each performance …”

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“… Damrau, as the frail Antonia who sings herself to death, showed no signs of frailty as she sang herself to death with gusto. She also took the very minor role of Stella in the prologue and epilogue.”

Mark Swed – Los Angeles Times

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The acclaimed German soprano Diana Damrau met her future husband, French bass-baritone Nicolas Testé, in a Munich church 13 years ago while performing Jean Francaix’s oratorio, “L’Apocalypse Selon.”

“It was a heaven-and-hell orchestra, a heaven-and-hell chorus, and Nicolas sang Christ,” Damrau said, adding “my redeemer” with a laugh.

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“As the emotionally unstable Elvira, a young Puritan woman in 17th-century England, Ms. Damrau sang with gleaming sound, volatile intensity and fearless execution of florid coloratura runs.”

Anthony Tommasini – The New York Times

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“On Saturday night for its New Year’s Eve gala, the Met introduced a new production of Gounod’s “Roméo et Juliette” starring Mr. Grigolo and Ms. Damrau as Shakespeare’s star-crossed adolescent lovers. In scene after scene, these exciting and charismatic artists disappeared into their characters, emboldening each other to sing with white-hot sensuality and impassioned lyricism …

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“As the Countess, Damrau was able to play out her comic tendencies and she was obviously enjoying herself. If she was the one who had caught the intrigue in a moment, she was already striking again as an affectionate wife who was profoundly offended by her husband’s jealousy. As expected, Damrau also provided a grandiose countess with a wide palette of vocal colors with her fine and seemingly effortless dynamic modulations. Her trills, sung in pianissimo, bore the character of a mischievous but at the same time quite furious Countess across the orchestra pit.”

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“Diana Damrau thrilled as a vocally sensational and dramatically mature countess. It is she who, by her disguise, regains the love of her husband.”

{Diana Damrau begeistert als eine stimmlich sensationelle und schauspielerisch reife Gräfin. Sie ist es, die durch ihre Verkleidungsintrige die Liebe ihres Mannes wieder zurückgewinnt.}

Thomas Schacher – Neue Zürcher Zeitung

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