Scene from „Walküre“ by Richard Wagner:
Roswitha Christina Müller as Fricka

What the press says

„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