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KS Nina Stemme - Sopran


Götterdämmerung (Brünnhilde), San Francisco Opera, Juni 2011

«Nina Stemme pure gold in San Francisco &quot;Ring&quot;. </p> <p>And the astonishing performance by the Swedish soprano goes a long way to redeem a production that otherwise suffers from uneven singing and direction by Francesca Zambello that seems at times more interested in making political points than honoring Wagner's creation. </p> <p>When Stemme appeared for a solo curtain call on Sunday after soaring through the 15-minute &quot;Immolation Scene&quot; that concludes &quot;Goetterdaemmerung,&quot; the audience that packed the War Memorial Opera House rose to their feet as one in a frenzied standing ovation. It was richly deserved. Stemme made a strong bid to be considered today's leading Bruennhilde in singing her first complete &quot;Ring,&quot; and invited comparison with great past exponents of the role. Her appearance was also a coup for the San Francisco Opera — the company that 55 years ago presented Birgit Nilsson in her U.S. debut. A compact, youthful-looking woman who just turned 48, Stemme is a true dramatic soprano with a voice that is smooth and evenly produced throughout its wide range up to a clarion high C. And she can produce terrific trills, which Wagner wrote but which are rarely performed. At the end of the cycle, she sounded as fresh as she had in her first playful appearance as Wotan's favorite daughter in &quot;Die Walkuere&quot; on Wednesday night. ... </p> <p>For Stemme's performance alone, this &quot;Ring&quot; is a must see.»

Associated Press, 20.06.2011

«And at the center of the final scene: Swedish soprano Nina Stemme, in the role of Brünnhilde, delivering an extended lamentation and heroic farewell -- a performance that will be remembered for years to come. Maybe they should re-title this production &quot;Der Ring des Nina Stemme.&quot; Because over the course of the &quot;Ring&quot; cycle -- Brünnhilde appears in the final three episodes -- Stemme has been the cornerstone. She is a singer of arresting power and sheer delicacy, her voice both spacious and focused. And filled with color: Drawing from a wide palette, she has presence, whether as tomboy daughter and warrior (&quot;Die Walküre&quot;), spirited lover (&quot;Siegfried&quot;) or grieving widow and world redeemer (&quot;Götterdämmerung&quot;).»

Mercury News, 20.06.2011

«As in “Die Walküre,” the standout in the final two operas was the soprano Nina Stemme, singing her first Brünnhilde in a complete “Ring.” In the punishing Immolation Scene at the end of “Götterdämmerung,” far from sounding vocally spent, Ms. Stemme took her singing to higher levels of burnished brilliance and expressive depth. A riveting presence, she was committed to the moment in every phrase she sang, every gesture she made. She received an ecstatic ovation.»

ANTHONY TOMMASINI, New York Times, 20.06.2011

«Die musikalische Attraktion war fraglos Nina Stemme mit ihrem Rollendebüt als vor Energie schier berstende &quot;Götterdämmerungs&quot;-Brünnhilde. Schon an früherer Stelle der Tetralogie hatte sie die üppige Klangfülle ihrer reifen Stimme mit dem hellen Fanfarenklang eines geborenen hochdramatischen Soprans vereint. Zunächst vor allem forsch und fröhlich, ... fügte sie ihrer Ausdruckspalette in der Götterdämmerung zunehmend Nuancen des Tragischen und der Innerlichkeit hinzu und gestaltete so ein Rollenporträt von bezwingender Leuchtkraft.»

Matthew Gurewitsch, Opernwelt, 01.08.2011