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

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