“But the baritone Gabriel Rollinson is the real star here. He has a healthy, fast vibrato — plus a true calling for Still’s mature, “universal” aesthetic, which sought to bridge the music of Europe and the United States. Rollinson sings the French of the “Poème” just as authoritatively as he does the text of a spiritual in “Here’s One,” during which he contrasts the conclusion of a ringing phrase with a disarming movement into vocal smoothness. He knows how to keep these interpretations vital.”
The New York Times
“When a mezzo-soprano in sparkling silver is urgently, emphatically reading out passages from Virginia Woolf’s novel Orlando, accompanied by a guitarist wearing a ruff and velvet slippers, you can’t help doing a double-take and wondering if you’re hallucinating. But no, this was all part of a remarkable concert by the mezzo Ema Nikolovska and the guitarist Sean Shibe at the Bath Festival — and if I say that the experience felt like being awake in a vivid dream, I do so as a compliment.”
The Guardian
“Yajie Zhang - a voice that is something to look out for.”
Operawire
“Sophie was charming debutante Sarah Gilford, whose lyric soprano fitted the role like a glove - more from her, please.”
Opera Now
“The rich and darkly timbred sound with which Serafina Starke formed a vocal gem from Barbarina's “L'ho perduta” was particularly beautiful.”
Frankfurter Allgemeine Zeitung
“The performances of the young, beguilingly lyrical countertenor Elmar Hauser as the gay Buddenbrook rebel are among the highlights of the evening.”
Opernwelt
“Anna Bernreitner tells both stories with wit, boundless energy, and delightfully over-the-top humor, making virtuosic use of the intimate opera stage to create one surprise after another. The young Austrian director knows exactly how to land a punchline—and possesses a remarkably sensitive ear for music.”
Frankfurter Allgemeine Zeitung
“Noa Beinart was utterly captivating in the Alto Rhapsody. With extraordinary warmth and breathtaking intimacy, she made the listener feel the loneliness at the work’s core, her beautifully timbred contralto merging seamlessly with the choir.”
