“…Therese Waldner sings with high vocal culture the delicate, shy internally spirited Mimi…”

…Therese Waldner proposed the title role of Madame Butterfly poignantly and created a very authentic character. Especially reliably and convincing, by leading her voice impressively, she showed the suffering of Lady Butterfly in the second and third act…”

“…Therese Waldner shows all the registers of his voice. It is one of the interpretations that dedicates the beauty of the voice to the expression and also recalls the greatest Tosca of all time-Maria Callas…”

„…So the evening belonged to Theresa Waldner as Tosca. She sang a visionary, radiant, emphase-soprano, like a fallen angel whose voice fortunately, knows nothing about the expiration…”

„ …In order to realize the concept of the production, a musically diverse and scenic talented singer was needed to play Tosca, and Theresa Waldner was chosen to this role. The Polish opera singer interpreted the role with a great involvement and mastered the body language perfectly. Her big, widely spread voice was able to get even the smallest nuances and to grade dynamically. Despite the dramatical effort she made, the tiredness could not be heard in her voice and the sound was still beautiful …”

„…It is good, when there are not only six good, young singers in the opera spectacle, but there is also Teresa Waldner from the Deustche Opera, playing Sister Angelica and also Giorgette in The Cloak. Her soprano is exceptional, wonderful, without any sharpness, but still dramatic. Her scream, while looking at a murdered lover, can touch really deeply.…”

„…The acme of Puccini’s singing – Therese Waldner, the greatest admiration – it was a world class- has to be definitely given to the gripping presentation of only one woman – Therese Waldner, who is currently involved in acting and singing at the Rheioper. She plays her roles both beautifully and dramatically, acts with a unique presence, sensual and sparkling soprano, which impresses the audience. and. What a voice, which, without too much espressivo, deals with the loudest orchestra’s fortissimo. Therefore, I’m throwing away my recording of Scott. Will she become a new Lotte Lehmann or Maria Jeritza? The way should be easy. Such a voice could gain fans even in MET or La Scala. I think the Director of the Deutscheoper does not know at all what a treasure he has in his theater. Summing up: We have rarely been able to hear such a voice for the last 20 years. PS. I also bear in mind the, so called, “Stars’ Evenings”

“…Therese Waldner is in her best form, playing, after a break, Jenufa, with her amazing voice. She shares her love and warmth with her 8-days-old baby. She trusts Kusterin with her faith, because of helplessness and reluctance to live. Her voice brings out delicate and sensitive sounds, cries of helplessness, full of resignation…”

„Therese Waldner caught the audience’s attention. Her heart touching creation, was filled with full sonority of her strong and colourful soprano, which has both lyric and spinto attributes…”

„…Therese Waldner as Elizabeth in Don Carlos showed the diversified Verdi singing style with a phenomenal culture in piano…”

“…Beautiful peaks of singing – the most important part of the evening was when Therese Waldner sang  Marschallin’s role with her spirited voice. Polish singer allows this character to bloom and evokes her to life by presenting the text wonderfully and with her full soprano voice, which, at parlando stages is dark, but has also a wonderful legato. In this interpretation, the Hofmansthals’ text sounded subtly, effectively and delicately. It was shown without any problems, full of character and expression. Mrs. Waldner’s Slavic subtlety and softness fit Marschallin’s melancholy. She has also got lightness and distinction needed in a comedy…”

„…Soulful fervent singing. Therese Waldner’s evening was on a highest level and it will be difficult to beat it. The Soprano sings with a direct, merry sound, which stays smooth even at the highest pitches, without a typical Slavic sharpness. I love the way she sings Polish and Russian songs, how she treats the language and communicates with the audience. There are no accidental sounds, everything is consciously chosen and presented. The thing that distinguishes her from the most prominent Singing Gods (the best canto’s performers) is the passion of her recital, in which there are no stolid moments. Her singing is passionate and spirited, not mannered like prima donna’s. She managed to present carved vocalise, ornamented Rachmaninov’s sounds and all timbres easily, with an impressive legato and amazing soprano voice. Thanks to Therese Waldner and her perfectly paced rendition, sophisticated songs (eg. Chopin’s) were merry, resembling folk and vibrant mazurkas. After wonderful Marschalin, whom  Therese Waldner presented on the first day of New Year on the main stage, Four Last Songs by Strauss was an obvious choice. She changes Strauss’ melodies into charming sounds without any technical problems. With almost never-ending breath she manages to form text and verses in Golden tropft Blatt um Blatt„

…Therese Waldner showed us her voice and style. She was better in the role of Amelia than Kiri Te Kanawa. She softened the dramatical glitter by singing pianissimo; she felt the role perfectly…”

„Out of many opera singers, it was Theresa Waldner’s presentation of Lady Macbeth which was stunning. She has got a strong, flexible voice, which is perfect for the role of Lady. Difficult coloraturas were pure and amazingly presented. She is also a real artist when it comes to dramatical expression, which she can modify with the power of her voice…”

„..It is impressive how Therese Waldner, with a great confidence, finds her most exposed sounds and changes them into smooth piano…”

“…Therese Waldner sings distressed Santuzza with a piercing soprano voice…”

“…Accompanied by soft, delicate orchestra sounds, Therese Waldner sang the part of Angelica with a perfect intuition, power and intensity. Her apotheosis, starting with a monologue ”Senza mamma” was one of the most beautiful moments in Rheinoper in the last few years…”

“…Therese Waldner holds court on the stage as Wally. Therese Waldner as Wally brings from her dramatic voice so many gentle and diverse sounds. The audience praised her for the spectacular aria with warmth and friendliness…”

„…There was a voice duel, at the end of the ensemble, between bel canto culture and Therese Waldner, verismo prima donna from the Rheinoper. Splendid Tosca, Giorgetta, Suor Angelica, etc. did the character’s great analysis with her concert performance of Amelia’s role. Just at the beginning of the 2nd act, Waldner makes the viewers to forget about the concert hall they are in. Her wonderful facial expression, showing fear and grief, gives people creeps.  Even the stunning pianos in Preghiera do not bring comfort. I the aria „Morro, ma prima in grazia” Waldner gives an extraordinary singing lesson…”

„The Abigaile’s role needs an extraordinary voice, which is very rare. The Singer has to have a voice with all registers – form a deep alt to a dramatic soprano, which even Maria Callas did not have. Therese Waldner’s performance is marvellous thanks to her intelligence and creation and her impressive Puccini voice…”