Nuremberg State Theater 2012, Conductor Guido Johannes Rumstadt, Director Balazs Kovalik.

„ … By con­trast, the début by the ensemble’s sec­ond new mem­ber, Roswitha Christi­na Müller, con­sti­tutes a bril­liant vocal suc­cess.“

BR-Klassik Bayerischer Rundfunk (Bavarian radio station), Barbara Bogen:

„Absolute­ly fan­tas­tic. Roswitha Christi­na Müller trans­forms the role of Azu­ce­na into a (per­haps slight­ly too youth­ful) char­ac­ter por­trait, avoid­ing hyper­bole in her inter­pre­ta­tion of the mani­a­cal mind­set of the woman who mis­tak­en­ly throws her own child into the flames.“

Der Opernfreund online (Opera Lover online review service), Frank Piontek

„The same applies to anoth­er sen­sa­tion­al addi­tion to Nuremberg’s State The­atre: Roswitha Christi­na Müller […] hot­ly-tipped to play Fric­ka in the com­ing sea­son, the mez­zo-sopra­no is like­ly to be in high demand else­where too.“

inFranken.de (online review), Monika Beer

„Roswitha Christi­na Müller’s Azu­ce­na min­gles a thirst for revenge, mater­nal instincts and sheer tem­pera­ment in what becomes a com­plex por­trait, borne mag­nif­i­cent­ly by her rich, pow­er­ful mez­zo-sopra­no, as capa­ble of fiery attacks as it is of shad­owy depths.“

Nürnberger Zeitung (Nuremberg-based newspaper), Thomas Heinold

„As the revenge­ful witch Azu­ce­na, Roswitha Christi­na Müller uses her vocal skills to blend all earth tones between dra­mat­ic mez­zo and alto, deliv­er­ing an excep­tion­al per­for­mance.“

Nürnberger Nachrichten, Jens Voskamp

„… Roswitha Christi­na Müller’s Azu­ce­na dis­plays explo­sive­ly dra­mat­ic heights, with blaz­ing, bohemi­an and all-con­sum­ing expres­sive­ness which nonethe­less con­vinces despite the character’s almost bizarre pro­file.“

Opernetz (Opera network publication), Egon Bezold

„… Pos­i­tive­ly tow­er­ing above her fel­low singers, Roswitha Christi­na Müller is the dis­cov­ery of the evening as Azu­ce­na, suc­cess­ful­ly con­vey­ing the role’s con­sum­mate tragedy in a sin­gle melod­ic line. Even if David Yim […], her scene with Man­ri­co in the sec­ond act is the high­light of the per­for­mance.“

nmz online (online review), Juan Martin Koch

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