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critics

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„Mez­zo-sopra­no Roswitha Christi­na Müller sings an insight­ful­ly unpre­ten­tious ver­sion of this bal­lad, oth­er­wise inter­pret­ing the role of Mar­guerite in a dra­mat­ic man­ner. Her Mar­guerite is more woman than girl, yet con­sis­tent­ly cred­i­ble.“

BR-Klassik Dirk Kruse

„How­ev­er con­tem­po­rary the cast may be, Mar­guerite, sung with won­der­ful effort­less­ness by mez­zo-sopra­no Roswitha Christi­na Müller, appeared to be the only char­ac­ter to have tru­ly reached the depths of mod­ern-day drills of love; dressed in an eye-catch­ing, bright red gown matched by her vel­vety, yet diverse­ly opales­cent vocal bou­quet. No naive Gretchen fig­ure, but a hope­less­ly smit­ten, dis­dain­ful­ly dropped young woman whose Prince Charm­ing for a night turns out to be a dev­il­ish delu­sion.“

Nürnberger Nachrichten Anja Barckhausen

„Here, I liked Roswitha Christi­na Müller’s inter­pre­ta­tion, with her rich­ly dark­ened mez­zo as a lyri­cal­ly inti­mate Mar­guerite, who nonethe­less for­mu­lat­ed her tor­tured feel­ings, caused by love, with great expres­sion.“

Nürnberger Zeitung Thomas Heinold

„With her dra­mat­ic, light, sweep­ing mez­zo-sopra­no and mas­tery of the high reg­is­ter, Roswitha Christi­na Müller is resplen­dent as Mar­guerite, her voice daz­zling with melo­di­ous sound.“

Opernnetz Renate Freyeisen
Nuremberg State Theatre

„… Roswitha Christi­na Müller’s out­stand­ing Fric­ka …“

Der Neue Merker — online, Alexander Walther

„Roswitha Christi­na Müller deliv­ers a seduc­tive stage pres­ence and force­ful rhetoric …“

Nürnberger Nachrichten, Jens Voskamp

„Roswitha Christi­na Müller with her demand­ing, lumi­nous sopra­no.“

Nürnberger Zeitung, Thomas Heinold

„With her ele­gant, ener­getic pres­ence, her sis­ter Fric­ka, Roswitha Christi­na Müller makes Wotan a wor­thy wife and is a delight to the ears with her clear, dynam­ic and pow­er­ful voice and a gen­er­ous help­ing of élan.“

Opernnetz, Renate Freyeisen

„Roswitha Christi­na Müller minces over the stage as a won­der­ful­ly bel­low­ing, razor-sharp Fric­ka …“

Süddeutsche Zeitung, Klaus Kalchschmid

„With dic­tion as keen as a razor, Roswitha Christi­na Müller as Fric­ka tells him what’s what …“

Neue Musikzeitung online, Juan Martin Koch

„Until recent­ly, Roswitha Christi­na Müller could be seen as a first-rate Amner­is in the excel­lent pro­duc­tion of Aida in Hof, Bavaria, and she is now prov­ing a real asset to the state theatre’s ensem­ble with her ele­gant­ly tim­brat­ic sopra­no. One sens­es that this woman, who uses her vocal and on-stage attrac­tive­ness so unre­served­ly, is at least as respon­si­ble for the mis­for­tune which will befall the world of the Ring as the God who breaks his own laws.“

Opernfreund-online, Frank Piontek

„And also Roswitha Christi­na Müller’s lumi­nous­ly clear mez­zo-sopra­no, which lends the char­ac­ter of Frica emo­tion­al depth.“

BR-Klassik, Thorsten Preuß

„Roswitha Christi­na Müller as a just as attrac­tive Fric­ka with a won­der­ful­ly clear voice char­ac­terised par­tic­u­lar­ly by a firm vocal tex­ture and pow­er­ful depth left an even more last­ing impres­sion than he …“

Donaukurier, Jesko Schulze-Reimpell

„The star of the evening was Anto­nio Yang’s extreme­ly agile Alberich, who was, how­ev­er, ably matched by Roswitha Christi­na Müller as Fric­ka, Egils Silint as Wotan, who stepped in short­ly pri­or to the pre­mière, Hans Kittelmann’s Mime and Vin­cent Wolfsteiner’s Loge.“

Heidenheimer Zeitung, Manfred F. Kubiak
Theater Hof 2013, Conductor Arn Goerke, Director Klaus Kusenberg

„Amner­is: if the pro­duc­tion team wish­es to show­case ‘pri­vate ordeals against the back­ground of polit­i­cal world his­to­ry’, this under­tak­ing suc­ceeds most emphat­i­cal­ly in the per­son of the Egypt­ian princess. As the most nuanced char­ac­ter and the production’s most expres­sive artiste, Roswitha Christi­na Müller pro­pels the already high-class cast and indeed the opera itself to new heights: an extra­or­di­nary woman. Nei­ther ancient exoti­cism nor a present stained by civ­il war makes her so sub­lime­ly tan­gi­ble; the ele­ment which under­scores her vibrat­ing, shiv­er­ing, shim­mer­ing, trem­bling, pierc­ing and effer­ves­cent sopra­no so tremu­lous­ly and quiv­er­ing­ly is ‘more than time: love’. It is the ven­om of love, jeal­ousy — and its dis­tor­tion, hate. Amner­is pines for Radamès and helps dri­ve him to his ruin. At the opera’s close, the artiste lingers, bro­ken, over the cou­ple unit­ed in death and peace. She her­self mer­its the com­pas­sion she beseech­es for the dead.“

Frankenpost, Michael Thumer

„With her broad, ver­sa­tile mez­zo-sopra­no, Roswitha Christi­na Müller por­trayed Amner­is in a high­ly com­pelling, dri­ven man­ner.“

Nürnberger Nachrichten, Jens Voskamp

„ […] the vocal pres­ence and vigour dis­played by Roswitha Christi­na Müller (Amner­is) […] Her dra­mat­ic sopra­no proved the per­fect vocal vehi­cle for her envy and base­ness — a delight for the ears in her duet with Aida […]“

operapoint, Oliver Hohlbach

„Roswitha Christi­na Müller deliv­ers a seduc­tive stage pres­ence and force­ful rhetoric …“

Nürnberger Nachrichten, Jens Voskamp

„Roswitha Christi­na Müller with her demand­ing, lumi­nous sopra­no.“

Nürnberger Zeitung, Thomas Heinold

„With her ele­gant, ener­getic pres­ence, her sis­ter Fric­ka, Roswitha Christi­na Müller makes Wotan a wor­thy wife and is a delight to the ears with her clear, dynam­ic and pow­er­ful voice and a gen­er­ous help­ing of élan.“

Opernnetz, Renate Freyeisen

„Roswitha Christi­na Müller minces over the stage as a won­der­ful­ly bel­low­ing, razor-sharp Fric­ka …“

Süddeutsche Zeitung, Klaus Kalchschmid

„With dic­tion as keen as a razor, Roswitha Christi­na Müller as Fric­ka tells him what’s what …“

Neue Musikzeitung online, Juan Martin Koch

„Until recent­ly, Roswitha Christi­na Müller could be seen as a first-rate Amner­is in the excel­lent pro­duc­tion of „Aida„ in Hof, Bavaria, and she is now prov­ing a real asset to the state theatre’s ensem­ble with her ele­gant­ly tim­brat­ic sopra­no. One sens­es that this woman, who uses her vocal and on-stage attrac­tive­ness so unre­served­ly, is at least as respon­si­ble for the mis­for­tune which will befall the world of the „Ring„ as the God who breaks his own laws.“

Opernfreund-online, Frank Piontek

„And also Roswitha Christi­na Müller’s lumi­nous­ly clear mez­zo-sopra­no, which lends the char­ac­ter of Frica emo­tion­al depth.“

BR-Klassik, Thorsten Preuß

„Roswitha Christi­na Müller as a just as attrac­tive Fric­ka with a won­der­ful­ly clear voice char­ac­terised par­tic­u­lar­ly by a firm vocal tex­ture and pow­er­ful depth left an even more last­ing impres­sion than he …“

Donaukurier, Jesko Schulze-Reimpell

„The star of the evening was Anto­nio Yang’s extreme­ly agile Alberich, who was, how­ev­er, ably matched by Roswitha Christi­na Müller as Fric­ka, Egils Silint as Wotan, who stepped in short­ly pri­or to the pre­mière, Hans Kittelmann’s Mime and Vin­cent Wolfsteiner’s Loge.“

Heidenheimer Zeitung, Manfred F. Kubiak
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