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Johannes Martin Kränzle - Bariton/Bass

Presse

Meistersinger von Nürnberg (Beckmesser), Glyndebourne Opera Festival, Mai 2011

«But that was because the two singers who really stole the show for me, Johannes Martin Kränzle and Michaela Selinger, were so much more comfortable in their stage skins - and hence in their voices - than anyone else....And I had to deliberately focus on Kränzle's Beckmesser to notice he was wiping a tear or two away after his self-inflicted humiliation. But this is in any case a riveting interpretation, pure Malvolio in the trajectory of humourless self-importance brought low, and McVicar certainly helps out his vivid mime scene when Beckmesser stumbles across the manuscript of Walter's song-text in Sachs's study. The Act Two serenade is perhaps the most straightforwardly beautiful singing of the evening; the garbled competition-entry in Act Three comes with an unexpectedly hilarious parody of bass-baritonal solemnity. That was the revelation of the evening for me, but it's impossible not to be seduced by the perfection of Glyndebourne on a dazzling afternoon.»

David Nice, The Arts Desk, 24.05.2011

«Johannes Martin Kränzle was perfect in both voice and dramatic interpretation. He took full advantage of David McVicar’s clever production ideas. When he creeps into Sachs’s study in Act III the music allows time for plenty of side play and it was very funny: his tumbling over the bench, the paper sticking on his hand, and then his shoe, the boxes falling out of the shelves. It was all done with perfect comic timing. Kränzle and Finley as Beckmessser and Sachs were the stars of this performance.»

Mark Ronan, Theatre Reviews, 24.05.2011

«He (Sachs) was up against an equally distinguished Beckmesser, sensitively uncaricatured by Johannes-Martin Kränzle. His final, Malvolio-like humiliation was oddly moving.»

Rupert Christiansen, The Telegraph, 24.05.2011

«Beckmesser (excellently played and sung by Johannes Martin Kränzle) remains onstage, sobbing, after his humiliation at the song contest, thereby attracting some sympathy, while a mood of non-triumphal bonhomie is suggested by the Masters linking arms in a kind of Bavarian Auld Lang Syne.»

Barry Millington, Standard, 24.05.2011

«Den musikalischen Höhepunkt bietet Johannes Martin Kränzles wunderbar agiler, pingelig-süffisanter Beckmesser, ganz in Schwarz aufgemacht wie ein Kinderfänger.»

Gina Thomas, Frankfurter Allgemeine Zeitung, 24.05.2011

«The insecure mean-spirited and cackhanded Beckmesser is brilliantly depicted by Johannes Martin Kränzle.»

Richard MorrisonThe Times:, 24.05.2011

«Johannes-Martin Kränzle’s Beckmesser, warmly sung with a richly resonant baritone, deserves a prize here.»

George Loomis, New York Times, 25.05.2011