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KS Nina Stemme - Sopran

Presse

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

«But what lifted the performance was Nina Stemme’s magnificent Isolde. Like Flagstad and Leider (and our own Anne Evans), she sings every note in tune, with tonal richness and majestic authority. She paces herself consummately, from a thrilling curse in the first act to a radiant Liebestod at the close. It’s Stemme’s night…»

Rupert Christiansen, The Telegraph, 30.09.2009

«But what lifted the performance was Nina Stemme’s magnificent Isolde. Like Flagstad and Leider (and our own Anne Evans), she sings every note in tune, with tonal richness and majestic authority. She paces herself consummately, from a thrilling curse in the first act to a radiant Liebestod at the close. It’s Stemme’s night…»

Rupert Christiansen, The Telegraph, 30.09.2009

«Never before have I seen a Royal Opera production greeted with a standing ovation ... . The first I understand. That was for Nina Stemme, whose Isolde was magnificent: as powerful, volatile and tellingly nuanced in the Liebestod as she had been five hours earlier, raging like a street-fighter against the humiliations piled on her by the self-obsessed Tristan. Two contrasting moments I won’t forget: the terrifying curse she hurled straight at us, the quaking punters, in Act I; then the heartstopping pianissimo she floated in the opera’s final minutes — a brief ray of transcendental sunlight piercing this most gloomy of love stories.»

Richard Morrison, Times online, 01.10.2009

«Never before have I seen a Royal Opera production greeted with a standing ovation ... . The first I understand. That was for Nina Stemme, whose Isolde was magnificent: as powerful, volatile and tellingly nuanced in the Liebestod as she had been five hours earlier, raging like a street-fighter against the humiliations piled on her by the self-obsessed Tristan. Two contrasting moments I won’t forget: the terrifying curse she hurled straight at us, the quaking punters, in Act I; then the heartstopping pianissimo she floated in the opera’s final minutes — a brief ray of transcendental sunlight piercing this most gloomy of love stories.»

Richard Morrison, Times online, 01.10.2009

«I would question their theatrical sensibilities and ask how on earth they think Nina Stemme gave what could perhaps be the performance of her life as Isolde without the input, insight, and nurturing of a gifted director. … I have already indicated but cannot find words to describe the impact of Nina Stemme’s wonderful Isolde, as formidable in her scorn as she was rapturous in her devotion. This was as special a performance as I have seen in the role. It really doesn’t get any better.»

Edward Seckerson, The Independent, 03.09.2009

«I would question their theatrical sensibilities and ask how on earth they think Nina Stemme gave what could perhaps be the performance of her life as Isolde without the input, insight, and nurturing of a gifted director. … I have already indicated but cannot find words to describe the impact of Nina Stemme’s wonderful Isolde, as formidable in her scorn as she was rapturous in her devotion. This was as special a performance as I have seen in the role. It really doesn’t get any better.»

Edward Seckerson, The Independent, 03.09.2009

«As Isolde, Nina Stemme was quite-simply outstanding. Imperious in the first act, vulnerable in the second and as fresh in the Liebestod as she had been at the beginning of the evening, she embodied all the facets of the character in a scrupulously detailed account of the role which left me grasping for superlatives. Utterly musical throughout, her Act One curse pinned you to the back of your seat, yet she went on to produce the sort of achingly beautiful soft singing that simply isn't in most Wagnerian sopranos' armoury. She was rightly awarded a standing ovation and I for one haven't heard or seen an Isolde to touch her. A thrilling evening on many levels and without doubt the most intelligent Wagner production to be seen in London for years. Unmissable.»

Keith McDonnell, Music OMH, 01.10.2009

«As Isolde, Nina Stemme was quite-simply outstanding. Imperious in the first act, vulnerable in the second and as fresh in the Liebestod as she had been at the beginning of the evening, she embodied all the facets of the character in a scrupulously detailed account of the role which left me grasping for superlatives. Utterly musical throughout, her Act One curse pinned you to the back of your seat, yet she went on to produce the sort of achingly beautiful soft singing that simply isn't in most Wagnerian sopranos' armoury. She was rightly awarded a standing ovation and I for one haven't heard or seen an Isolde to touch her. A thrilling evening on many levels and without doubt the most intelligent Wagner production to be seen in London for years. Unmissable.»

Keith McDonnell, Music OMH, 01.10.2009

«Nina Stemme justifies her reputation as one of the finest Isoldes of this or any age with a supremely confident performance, incandescent in her anger, thrillingly ardent in her passion.»

Barry Millington, Evening Standard, 30.09.2009

«Nina Stemme justifies her reputation as one of the finest Isoldes of this or any age with a supremely confident performance, incandescent in her anger, thrillingly ardent in her passion.»

Barry Millington, Evening Standard, 30.09.2009

«Musikalisch ist dieser Wagner-Abend in London ein Ereignis! Vor allem, weil Antonio Pappano und das Orchester des Royal Opera House einen "Tristan"-Klang vom Feinsten abliefern. Samtige Streicher, eine im großen Bogen gestaltete Emotion, zelebrierte Spannung mit dem Feinzeichner bis zum gefühlten Beinahe-Stillstand ausgekostet, suggestive Verführung und Transparenz bedurften weder der Effekthascherei oder eines nebeldampfenden Überkochens. Pappano atmete regelrecht mit den Sängern auf deren Expedition in die Grenzbereiche des Emotionalen. Der gefeierte Star auf der Bühne war Nina Stemme. Sollte es je Zweifel an ihrer Klasse gegeben haben, in Covent Garden hat sie ihre Stellung als derzeit wohl beste amtierende Isolde eindrucksvoll unterstrichen.»

Joachim Lange, Wiener Zeitung, 01.10.2009

«Musikalisch ist dieser Wagner-Abend in London ein Ereignis! Vor allem, weil Antonio Pappano und das Orchester des Royal Opera House einen "Tristan"-Klang vom Feinsten abliefern. Samtige Streicher, eine im großen Bogen gestaltete Emotion, zelebrierte Spannung mit dem Feinzeichner bis zum gefühlten Beinahe-Stillstand ausgekostet, suggestive Verführung und Transparenz bedurften weder der Effekthascherei oder eines nebeldampfenden Überkochens. Pappano atmete regelrecht mit den Sängern auf deren Expedition in die Grenzbereiche des Emotionalen. Der gefeierte Star auf der Bühne war Nina Stemme. Sollte es je Zweifel an ihrer Klasse gegeben haben, in Covent Garden hat sie ihre Stellung als derzeit wohl beste amtierende Isolde eindrucksvoll unterstrichen.»

Joachim Lange, Wiener Zeitung, 01.10.2009

«Nina Stemme ist eine ungewöhnlich schlanke Isolde, doch was an ihr vor allem besticht, ist die herrliche Art, wie sie diese Partie singt. Sicher und strahlend strömen die Töne aus ihr hervor, sie zeichnet ein mitreissendes, bewegendes Porträt der flammenden irischen Prinzessin - bis zum finalen, himmlischen "Liebestod". Solch freiem, formvollendeten Wagner-Gesang begegnet man heute selten.»

John Allison, Opernwelt, 01.11.2009