{"id":94,"date":"2018-03-06T22:54:27","date_gmt":"2018-03-06T21:54:27","guid":{"rendered":"http:\/\/www.theresewaldner.com\/?page_id=94"},"modified":"2018-03-18T12:33:47","modified_gmt":"2018-03-18T11:33:47","slug":"recenzje","status":"publish","type":"page","link":"https:\/\/www.theresewaldner.com\/en\/recenzje\/","title":{"rendered":"Criticism"},"content":{"rendered":"

[vc_row][vc_column][vc_custom_heading text=”Reviews” font_container=”tag:h2|text_align:center” google_fonts=”font_family:Raleway%3A100%2C200%2C300%2Cregular%2C500%2C600%2C700%2C800%2C900|font_style:400%20regular%3A400%3Anormal”]

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“…<\/b>Therese Waldner sings with high vocal culture the delicate, shy internally spirited Mimi\u2026\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tOpernwelt – April 1993<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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\u2026Therese 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\u2026\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tStuttgarter Zeitung – 12.03.1998<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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“…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\u2026\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tWestf\u00e4lische Rundschau – 21.02.02<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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\u201e\u2026So 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\u2026\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tRheinische Post, D\u00fcsseldorf – March 2002<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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\u201e \u2026In 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 \u2026\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tDas Opernglas No. 4\/2002<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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\u201e\u2026It 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.<\/em> Her soprano is exceptional, wonderful, without any sharpness, but still dramatic. Her scream, while looking at a murdered lover, can touch really deeply.\u2026\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tWestdeutsche Zeitung – 20.10.03<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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\u201e\u2026The acme of Puccini\u2019s 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\u2019s 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, \u201cStars\u2019 Evenings\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tDer Neue Merker, Wien – No.11\/12 2003<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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“…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…”<\/p>\n\t<\/div>\n\t

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\n\t\t\tVordener Zeitung – 26.10.1994<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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\u201eTherese Waldner caught the audience\u2019s attention. Her heart touching creation, was filled with full sonority of her strong and colourful soprano, which has both lyric and spinto attributes\u2026\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tOrpheus 12\/94<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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\u201e…Therese Waldner as Elizabeth in Don Carlos <\/em>showed the diversified Verdi singing style with a phenomenal culture in piano…\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tLuxemburger Wort – 24.10.1995<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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“…Beautiful peaks of singing –\u00a0the most important part of the evening was when Therese Waldner sang \u00a0Marschallin\u2019s 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\u2019 text sounded subtly, effectively and delicately. It was shown without any problems, full of character and expression. Mrs. Waldner\u2019s Slavic subtlety and softness fit Marschallin\u2019s melancholy. She has also got lightness and distinction needed in a comedy…\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tBadische Neuste Nachrichten – 3.01.1997<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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\u201e\u2026Soulful fervent singing. Therese Waldner\u2019s 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\u2019s 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\u2019s. She managed to present carved vocalise, ornamented Rachmaninov\u2019s 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\u2019s) were merry, resembling folk and vibrant mazurkas. After wonderful Marschalin, whom\u00a0 Therese Waldner presented on the first day of New Year on the main stage, Four Last Songs <\/em>by Strauss was an obvious choice. She changes Strauss\u2019 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<\/em>\u201e<\/p>\n\t<\/div>\n\t

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\n\t\t\tBadische Neueste Nachrichten – 4.02.1997<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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…<\/b>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…\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tThe San Juan-Puerto Rico – 7.03.1997<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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\u201eOut of many opera singers, it was Theresa Waldner\u2019s 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…\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tDer Neue Merker-Wien – 1999<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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\u201e..It is impressive how Therese Waldner, with a great confidence, finds her most exposed sounds and changes them into smooth piano…\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tWestdeutsche Zeitung – 20.03.2001<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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“…Therese Waldner sings distressed Santuzza with a piercing soprano voice…\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tWAZ – Duisburg – 10.03.2003<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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“…<\/b>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 \u201dSenza mamma\u201d was one of the most beautiful moments in Rheinoper in the last few years…”<\/p>\n\t<\/div>\n\t

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\n\t\t\tNRZ – 20.10.2003<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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“…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…”<\/p>\n\t<\/div>\n\t

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\n\t\t\tNRZ, D\u00fcsseldorf – 18.09.2006<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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\u201e…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\u2019s great analysis with her concert performance of Amelia\u2019s 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.\u00a0 Even the stunning pianos in Preghiera do not bring comfort. I the aria \u201eMorro, ma prima in grazia\u201d Waldner gives an extraordinary singing lesson…\u201d<\/p>\n\t<\/div>\n\t

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\n\t\t\tDer Neue Merker Wien – 06\/2007<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div>\n
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\u201eThe Abigaile\u2019s role needs an extraordinary voice, which is very rare. The Singer has to have a voice with all registers \u2013 form a deep alt to a dramatic soprano, which even Maria Callas did not have. Therese Waldner\u2019s performance is marvellous thanks to her intelligence and creation and her impressive Puccini voice…”<\/p>\n\t<\/div>\n\t

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\n\t\t\tNRZ – 12.11.2007<\/span>\t\t<\/div>\n\t<\/div>\n<\/article>\n\t<\/div>\n\n<\/div><\/div>[\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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