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 | "Macbeth", Giuseppe Verdi LADY MACBETH April 2012, MET NEW YORK Michael's MET Opera debut was the chief attraction of the company's ... "Macbeth". " ...The slim, glamorous soprano Nadja Michael certainly didn’t look ugly, dressed first in a slinky white nightgown and then a striking red dress for the banquet scene... She had volume and power...and she was dramatically convincing. Her facial expressions and movements conveyed the essence of this creepy, manipulative and ultimately deranged character...She managed to sing her sleepwalking scene while walking precariously over a row of chairs placed in front of her by the witches... " Vivian Schweitzer, New York Times, 03.2012 " ...The intensity of the opera is maintained through the strong performance ... and a striking Met debut by German soprano Nadja Michael as Lady Macbeth. Michael certainly looked terrific, whether wearing a white nightgown or a skintight red dress. Her singing was also a standout; ... her voice soared over the orchestra and fit the character’s steely resolve... " Barry Bassis, The Epoch Times, 23.03.2012 " ...Michael was a smoldering Lady Macbeth in a nightgown, slinky dresses and dark pantsuit. With facial contortions and jerky mannerisms as she slithered around, Michael conveyed her character's vile lust for power and contempt of vulnerability. With long, thin arms and legs, an expressive face and graceful movement, Nadja Michael commands the stage in a manner few sopranos do. ...it was an exciting, vibrant performance, and she drew a large ovation during curtain calls... " Ronald Blum, Associated Press, 16.03.2012 " ...the propulsive clarity Michael exhibited throughout the production, culminating in her final aria where mania devolves into madness, was riveting. Slim and stylish in Mark Thompson's gowns (and more than once clad only in a Cat on a Hot Tin Roof-like slip) and with long blonde hair often flowing, Michael was also sex incarnate. Her libidinous attack, which resulted in a deep swoon at the end of one smooch - and Hampson's equally heated response - silently shouted "chemistry." Even Michael's curtain call, where she bent at the waist and held the doubled-in-half pose, was wow-worthy... " David Finkle, Theatermania.com, 16.03.2012 |
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| "Médéé", Luigi Cherubini MÉDÉÉ September 2011, THEATRE MONNAIE BRUXELLES, Brüssel Nadja Michael centre noir de l´affaire " ...To impersonate the role of Medee, one but needs the talent, energy and the physical condition of Nadja Michael. She portrayed the irresistible and sole center of the entire production... ” Martine D. Mergaey, La Libre, 08.09.2011 " ...Nadja Michael played in an outstanding manner, constantly transforming the character of Medee via vocal fach, timbre and representation. She had a voice withour constraints. The intensity and force of Nadja Michael are extraordinary and will always keep this Medee in our minds... " Attilo Moro, SIPARIO, 21.09.2011 " ...Nadja Michael convinced as the big „Tragedienne Lyriques“. The Meddee she played showed inner conflicts and agony. The singer impressed with a large variety in her voice during the high pitches. At the same time, she was able to apply all her force and energy during the deep notes. To a large extent, the entire play rested upon her shoulders... " Jean Lucas, La Voix, 08.09.2011 " ...But it´s Nadja Michael's performance that convinces most ... The vocal aspect of Medea's role grows in importance as the opera proceeds, and it becomes a real star vehicle for a dramatic soprano. Michael's voice was up to the task in every way, with plenty of power, diction clear as a bell and stage presence and expressiveness to burn... " David Karlin, www.TRACK.com, 20.09.2011 |
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| "Wozzeck", Alban Berg MARIE Premiere April 16. 2011, Staatsoper Unter den Linden, Berlin " ...and also Marie is remote here. And exactly that is expressed by Nadja Michael with the captivating desperation of her voice... " Jürgen Otten, Frankfurter Rundschau, 18.04.2011 " ...one believes in the rampant, wildly bulging Marie played by Nadja Michael in being the willing object of an aggressive, masculine desire...at first it seems problematic that the singer uses her soprano to load up the broken figure with a lot of vitality, but it gives the role model of the women, who is usually haggard in appearance, more character and volume... " Wolfgang Schreiber, SZ, 18.04.2011 " ...the soprano Nadja Michael has never before satisfied in such a sovereign manner... " Kirsten Liese, Giessener Allgemeine Zeitung " ...Nadja Michael emphasizes the charakter Marie both in desire and self-contempt... " Gerald Felber, Märkische Allgemeine, 19.04.2011 " ...Marie, (who is powerfully played by Nadja Michael) by no means acts as a victim of rape by the drum major. In contrast, she plays a self-destructing game with him, revealdy by the manner of her desperate attempt to experience some sort of life even under the circumstances of pain... " Julia Spinola, FAZ, 18.04.2011 |
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| "Macbeth", Giuseppe Verdi LADY MACBETH Premiere 01.10.2010, Lyric Opera Chicago "...The soprano's lethal Lady was a fascinating, feral creature, encircling herself with candles during her incantatory first aria, blazing through the second half of "La luce langue" with enough strength to ride the orchestra, turning the sleepwalking scene into a tour de force of vocal and histrionic intensity, ... Lyric's lady had both the lower voice and coloratura for this vocally grueling role. The German soprano delivered a superbly detailed portrayal of evil at its most calculating – you couldn't take your eyes off her. ..." John von Rhein, Chicago Tribune, 03.10.2010 " ... it was the powerful performance by Nadja Michael as Lady Macbeth that anchored the opera. Michael’s acting produced a wrenching character evolution fueled by guilt. Her fabulous wide-ranging soprano mesmorized us throughout. I was transfixed and thoroughly delighted by the spectacle and the quality of the staging that enhanced the scope of Hampson and Michael’s engaging performances. ..." Tom Williams, www.chicagocritic.com, 07.10.2010 "... Lady Macbeth, who tries to shake him out of his terror, tugs on his cloak from below the table, not seeing what he feels and we (alone) see. Her attempt to distract the other guests, always a little strained, is made more difficult in Verdi’s opera. Shakespeare had her dismiss the guests, but Verdi wants to keep them around for the act-ending chorus of mixed emotions. This “Lady” (as Verdi referred to her) does this by getting nervously tipsy, giving variety to her repetition of the drinking song (drinking she exemplifies as well as encourages). The scene is brilliantly sung and acted by the German mezzo-turned-soprano Nadja Michael. Her nervous drunkenness continued a subtle characterization that Gaines induced to foreshadow the final crackup in her sleep-walking mad scene. ..." Garry Wills, www.nybooks.com/blogs/nyrblog, 18.10.2010 " ... Nadja Michael was THE Lady Macbeth you would want to see in this opera. She had the commanding presence of a stage diva, with the vocal prowess to support it. ... Michael's Lady Macbeth was a triumph. The Wagnerian largess of her voice, even through dark and expansive chest tone, is completely satisfying in this role. ..." www.ialmonteviews.blogspot.com, 02.10.2010 "... Nadja Michael (Lady Macbeth) drove her husband to kill and nearly did the same to me. Her first act arias proved her ability to sing "like a banshee" while slinking around and writhing like Gozer, the destructor. She's one you either love or hate, and for me, unfortunately, I loathed having her on stage, flaunting her hot bod and wailing hysterically. [For her curtain call, nearly half the audience stood.] ... All that being said, her Act IV aria was bone-chillingly haunting; I finally felt sympathetic to her character, whom I had been killing off in my head since the beginning. ..." Evan Kuchar, www. chicagonow.com/blogs/beyond-words, 06.10.10 |
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| Millennium Park Concert, Chicago 09. September 2010 "... Thomas Hampson as Macbeth and German soprano Nadja Michael as Lady Macbeth ... were in superb voice and revealed terrific chemistry as the plotting pair. Michael, making her company debut at this concert, also rendered Lady Macbeth’s exultation to the powers of darkness, La luce langue with considerable drama and introspection, all the more so because of the contrast with her girlish features and pixie-like blonde hair, augmented by a pleated pumpkin gown that billowed as she sang in the autumn night air. ..." Dennis Polkow, www.chicagoclassicalreview.com, 12.09.2010 |
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| ORLANDO MISTERIOSO own project, "Eine inszenierte Liedreise" June 2010, Theater an der Wien Zwischen den Geschlechtern „Das Leben ist ein Traum, und das Aufwachen ist, was uns tötet“, heißt es in der musik- theatralischen Metamorphose „Orlando“, die die Sängerin Nadja Michael zusammengestellt und an der Wien selbst dargestellt hat. Nadja Michael ist bei uns (Wiener Staatsoper, Bregenzer Festspiele) vor allem als Fidelio-Leonore und als hinreißende Eboli aus Konwitschnys fünfaktigem „Don Carlos“ bekannt. Im Theater an der Wien einen Abend gestaltete sie zur Musik von Wagner, Schumann, Hugo Wolf, Mahler und Richard Strauss das Programm „Orlando misterioso“ und singt und verwandelt sich von Maria Stuart in Ophelia und Mignon zu Gustav Mahlers fahrendem Gesellen oder zum glücklichen an den Strand niedersteigendem Paar („Und morgen wird die Sonne wieder scheinen“). Die Verwandlung von der Königin Maria zur liebenden Ophelia oder zur kleinen Mignon und schließlich zum jungen Mann vollzieht Nadja Michael perfekt, auch in der Darstellung pendelnd zwischen den Geschlechtern – wie „Orlando“ von Virginia Woolf. Teils live, teils vom Tonband und mit reichem Bewegungs- spiel geht sie den Weg von Menschlichkeit zu Wahnsinn, von Verweigerung zur Transformation der Geschlechter. Eine aparte Metamorphose, der das Publikum zuerst erstaunt, dann zunehmend begeistert folgte. Eine hervorragende Mitgestalterin war die junge japanische Pianistin Miku Nishimoto- Neubert. V.K., Kronenzeitung, 26.06.2010 |
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| "Medea in Corinto", Giovanni Simone Mayr MEDEA Premiere on June 07, 2010, Bayerische Staatsoper München "... Nadja Michael sings and plays her role with such a captivating spirit and vocal power. A parcel which fathoms the extremes and requires enormous vocal skills. Michael satisfies even in extreme difficulty, from playing an intimate agony of a soul together with a solo violin, up to overturning arias of revenge ... her powerfull voice almost frightens the viewer ...“ Robert Jungwirth, www.klassikInfo.de, 07.06.2010 " ... The biggest musical triumph is due to the orchestra – and the celebrated Nadja Michael, playing a mistrusting, desperate Medea ..." Eleonore Büning, FAZ, 09.06.2010 "... Nadja Michael surpasses everyone, playing a cold, only partially agonized and strained Medea, who reveals the development of a rampage ..." Wolf-Dieter Peter, Deutschlandradio Kultur, Fazit, 07.06.2010 |
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| "Iphigénie en Tauride", Christoph Willibald Gluck IPHIGÉNIE Premiere December 01, 2009, La Monnaie, Brüssel "... Nadja Michael spielt nicht, nein, sie durchlebt in jeder Sekunde diese Iphigénie, sie strahlt eine packende Bühnenpräsenz aus, singt mit unvergleichlichem Engagement ..." Hans Reul, BRF, 03.12.2009 "... Nadja Michael campe une Iphigénie physiquement idéale et au jeu très expressif..." Jean Lucas, Luxemburger Wort, 08.12.2009 "... Nadja Michael offre un don de scène et un engagement bouleversants ..." Martine de Mergeay, La Libre Belgique, 03.12.2009 |
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| "Salome", Richard Strauss SALOME Premiere October 18, 2009, San Francisco Opera “... German-born soprano Nadja Michael ... is full of feminine wiliness. Her manipulation of her pathetically lustful stepfather ... maintains a brilliant disdain of the man whose arousal she is encouraging. And her final dalliance with the severed head of the lover who rejected her and whom she had killed is bravura Grand Guignol. ... In voice and in persona ... she is mesmerizing throughout. ...“ Bruce Weber, New York Times, 19.10.2009 “... Michael may seem the ideal Salome. ... After the Dance, Michael was pumped up for her big final scene kissing John’s head, which she fondled and put between her legs in what was an impressive moment of real debauchery and amazing singing. ...“ Mark Swed, Los Angeles Times, 22.10.2009 “German soprano Nadja Michael gives a staggering performance as Salome at S.F. Opera ... Salome is power that cries out to be caged. ... Soprano Michael, as Salome, embodies the girl's growing madness with her slithery and slinky coloratura, spectral vocal colors and vivid acting out of the girl's pure psychological meltdown. ...“ Richard Scheinin, Mercury News, 19.10.2009 “... all reasons to see Salome ... the primary one being to see if the soprano can pull of the multiple demands of the title role: dramatic vocalization, a lengthy dancing/stripping scene, and performing the world's only necrophiliac love aria. In all categories, I'd have to give Nadja Michael an A. Michael gives the massively troubled teen a self-involved intensity, delivers the kinds of searing top-notes that befit the actions and the score, and dances better than any opera singer in the world (and perhaps better than 20 percent of professional dancers). ...“ Michael J. Vaughn, www.theoperacritic.com, 04.11.2009 “...Central to the production’s estimable success, besides Luisotti and his 91-member orchestra, were soprano Nadja Michael (Salome) .... Blessed with considerable bloom in the middle voice, ... the soprano was able to devote considerable volume to both the low G-flat and high B’s of the role’s extremes. ...“ Jason Victor Serinus, www.sfcv.org, 18.10.2009 |
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| "Die tote Stadt", Erich W. Korngold MARIE/MARIETTA Premiere January 27, 2009, Royal Opera House Covent Garden "..., it was Nadja Michael as the mercurial Marietta/Marie who compelled attention. A single moment of uncharacteristically dubious intonation aside, she transcended her virgin/whore archetypes, captivating and convincing both vocally and physically, and pulling off the extraordinary feat on which the opera’s premise necessarily hinges: creating a woman at once loin-quiveringly desirable and skin-crawlingly repugnant. ..." Alexandra Coghlan, The Oxford Times, 29.01.2009 " ... Nadja Michael ... embodies Decker's scary harridan conception of Marie/ Marietta, and moves like a dancer. ..." Erica Jeal, The Guardian, 29.01.2009 " ... Nadja Michael's clear, bell-like voice is near perfect for the dual role of the dead wife and that of Marietta, the coquettish dancer. Excitingly the super slim Ms. Michael whirles around the stage with much sensual energy ..." Paul Callan, Daily Express, 29.01.2009 "... Under the masterful direction of German Ingo Metzmacher, the main roles are sung by American tenor Stephen Gould and German sopranist Nadja Michael; the latter is convincing due to her powerful voice and her great acting abilities. ..." mzr, El Universal (Mexico), 28.01.2009 "... The principals played their roles differently. ... German sopranist Nadja Michael – in the role of Marietta – was catlike and stimulating in her interpretation, while being very precise in terms of the music, above all in the range of the higher octaves. However, both showed emotions and ability, providing a moving and stirring performance. ..." Eduardo Suárez, El Mundo (Spain), 28.01.2009 |
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| Tannhäuser", Richard Wagner VENUS/ELISABETH Premiere November 30, 2008, Deutsche Oper Berlin "... Nadja Michael was very much in control of her big voice. ... The B was stunning and the last act-prayer was her best moment ... " Carlos Maria Solare, Opera UK, December 2008 "... Nadja Michael wirft sich mit Vehemenz in ihre Doppelrolle, zieht alle darstellerischen Register, die ihr vor und zwischen den Tableaus verbleiben, beeindruckt auch, wenn sie lodert, kann sich am Ende auf ihre Fans genauso verlassen wie auf den offenbar eingeschworenen Club derer, die sie nicht mögen. ..." Roberto Becker, Tageszeitung Neues Deutschland, 02.12.2008 "... Nadja Michael hat eine kräftige Stimme, die sie in der Doppelrolle der Venus und Elisabeth schön und wohldosiert einzusetzen weiß, ..." Niklas Hablützel, die tageszeitung, 02.12.2008 "... Es war - abgesehen von ihrer großen Bühnenpräsenz - spannend, mitzuverfolgen, wie sie in Doppelrolle als Venus und Elisabeth Stimmlage und Timbre blitzschnell wechseln kann. ... " Bernhard Doppler, Deutschlandradio, 30.11.2008 "... Nadja Michael als Venus-Elisabeth ist schön anzusehen, ... Stimmlich übertrumpft sie alle mühelos, ..." G. Kühn, www.gf-kuehn.de, 30.11.2008 |
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| "Macbeth", Giuseppe Verdi LADY MACBETH Premiere October 02, 2008, Bayerische Staatsoper München "... none more than Nadja Michael's show-stopping Lady Macbeth. This is a woman who doesn't want her husband's blood-smeared hands on her tiny cocktail dress, who pauses to tuck her blonde hair behind her ears before stooping to shove Banquo's severed head up her skirt, a singer who can literally hang from the chandelier without missing a beat. Michael, though announced as indisposed, delivers a performance of animal power and kamikaze commitment. She looks like a supermodel and sings like a banshee. ... This is a Lady Macbeth to die for. ..." Shirley Apthorp, www.bloomberg.com, 03.10.2008 "... Nadja Michael ... is praised by all others. She brilliantly achieves the role of the Lady who is deeply disappointed by her husband. ... She already is a sensation in her first scene. Loudly and powerfully, she transcends any ensemble ... She runs through the courses in great arcs. ... Michael forms the phrases with a great deal of intelligence. ... When she considers the murder of Banquo as being necessary, she lays a shiver over the phrases that foreshadows her coming breakdown. When she repeats the drinking song in the banquet scene, she sings of her unbridled exasperation concerning her husband. ..." Reinhard J. Brembeck, SZ, 04./05.10.2008 "... Nadja Michael was a Lady who vibrated with every fiber of her body, also filling her ambition and lunacy with her voice ... in a very believable manner." Joachim Lange, Frankfurter Rundschau, 04.10.2008 |
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| "Salome", Richard Strauss SALOME DVD-Release September 01, 2008, ROH Covent Garden "Nadja Michael is a marvellous actress here: ... Her singing is superb. She is entirely girlish at the start, developing a powerful edge to her voice only when necessary, ... In fact the moments when she is not singing are almost as exciting as her big scenes: ... She seems vulnerable rather than icy after her encounter with John, ... Her hypnotic stage presence is one of the great strengths of this DVD. ..." Simon Thompson, www.musicweb.uk.net |
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| Médée, Luigi Cherubini MÉDÉE Premiere April 12, 2008, Théâtre Royal de la Monnaie, Brussels "... She’s a blockbuster! The vigorous performance of Nadja Michael, the German soprano with a wonderfully dark mezzo timbre, embodies a disconcerting Medea who is both passionate and violent; she’s a blockbuster (in the most literal sense of the word!) who will go off among the people in the street – her stage presence is reminiscent of Maria Callas in Pasolini’s film as well as of the unforgettable Melina Mercouri in “Cri de femmes” by Jules Dassin. Her colossal talent as a lyric tragédienne moves us to new heights. ..." Michel Debrocq, Le soir, 14.04.2008 "... Nadja Michael is a master of the stage, relegating all the other singers into the second row, so to speak; she finds a worthy partner only in the orchestra, which equally suffers her pain and cavorts passionately with her. ..." Reinhard J. Brembeck, SZ, 14.04.2008 |
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| "Salome", Richard Strauss SALOME Premiere February 21, 2008, Royal Opera House Covent Garden, London "... In the person of Nadja Michael, a singer was available for the title role who ... with her effortlessly appealing depth and great volume, not only satisfied all requirements for the diabolic soprano part in terms of her voice, but also left nothing to be desired in terms of her acting and dancing. ... The magnificent stage presence of Nadja Michael is shown by every emotional turn that is put to music, even if it is announced by merely a breath of wind, captured with a nearly wraithlike precision and a mastery of singing. ..." Wolfgang Sandner, FAZ, 24.02.2008 "This production ... boasts a striking central performance from German soprano Nadja Michael. ... Michael's emotions encompass childish petulance, perverse longing, unrelenting insistence and even a loving gentleness as she sings to the severed head. ... The singer displays an amazing vocal range from startlingly booming lower notes to a surprisingly secure, if not altogether beautiful, top. There's an elasticity in her performance that is spell-binding. ... It is not surprising that she is now in demand throughout Europe for this key role in the soprano repertoire." Simon Thomas, www.musicOMH.com, 22.02.2008 |
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| "Tosca", Giacomo Puccini TOSCA Premiere July 19, 2007, Bregenz Festival "... Michael is every bit the obsessive diva, passionate in her art and love (in the cathedral she pops the straps of Cavaradossi's overall before a fit of Catholicism spoils the mood). ..." Larry L. Lash, Variety, 06.08.2007 "... Nadja Michael, a recent defector from mezzo-soprano-repertory, is on the way to becoming one of our foremost Tosca. Impatious, glamorous and beautiful she easlily negociates the jealous divas mood wings spontanity. The voice is full and lush, particularly noticeable in the many middle- and low-lying passages problematic for many many sopranos. A bit of diction is all one could ask for." Larry Lash, www.musicalamerica.com, 10.08.2007 |
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| "Fidelio", Ludwig van Beethoven LEONORE March 2007, State Opera Vienna "... Nadja Michael, the unforgettable Eboli in Don Carlos, proved that she is not only capable of erotic appeal. Nadja Michael as “Leonore” stands her ground; very concentrated in her performance, she speaks the dialogs in refreshingly natural manner, profits from the benefit of her masculine mezzo-colour and sings this tricky role convincingly. (…) Her Leonore has shape. (…) Nadja Michael impersonates a credible music drama." Karl Löbl, www.oe24.at, 19.03.2007 |
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| "Salome", Richard Strauss SALOME Premiere March 6, 2007, Teatro alla Scala di Milano "... The only development in the Luc Bondy production (to which La Scala did not give a second thought) concerned Nadja Michael. She was the only one who could sing piano. Engrossed in herself, she was almost declaiming rather than singing in the finale. She was soft and sensual, and after the Dance of Seven Veils satisfied rather than angry.“ La Repubblica, 10.03.2007 "... Nadja Michael, a former professional swimmer, is not only an artist in possession of a great voice with a radiant timbre and flawless intonation (…) but also an admirable actress and excellent dancer.“ Corriere della Sera, 08.03.2007 |
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"Das Lied von der Erde", Gustav Mahler Bergen Philharmonic Orchestra October 22, 2005, Grieghallen Bergen |
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| "...The German Nadja Michael was a complete delight from beginning to end. She sang her mezzo role with great musical phrasing and a fine understanding of the text. She showed total control over the full range of Mahler’s register of expression: in her interpretation of the last movement: In ‘Der Abschied’: her voice was light and slender when she sang about the cool shadows of the spruces; it became dark and lustrous in the second movement’s lament over an unhappy life, and she ultimately blended it completely down and let it sound unaccented in the repeated, falling phrase ‘ewig, ewig’, while only one woodwind kept an insistant hope alive..." Peter Larsen, Bergens Tidende, October 23, 2005 |
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"Die Tote Stadt", Erich Wolfgang Korngold MARIETTA Premiere April 6, 2005, De Nederlandse Opera Amsterdam |
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| “Sensational debut of Nadja Michael The beautiful Berliner gave her soprano debut in the role of Marietta and presented performance that can be called memorable. She swept the stage like a tornado, and clearly demonstrated the character’s colour and its lasciviousness. Visually she was the seductive devil par excellence. Her warm and slender voice rose above the (way too loud) orchestra effortlessly and glowingly. In her soaring aria from the first act, Nadja Michael spun a pianissimo line of great filigree and magic. In the third act she darted fulminant fortissimo high notes towards the tenor. Nadja Michael as soprano was a discovery and was fervently celebrated by the Dutch critics and the audience.“ Kevin Clarke, Orpheus, 7+8/2005 |
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| "...And in the demaning principal roles, the tenor Torsten Kerl as Paul, and soprano Nadja Michael as a positively prehensile Marietta/Marie, perfom heroically..." Guardian, April 9, 2005 |
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| "...Marietta – a magnificent role for the soprano Nadja Michael – she sparkles like the love of life across the podium in her endeavour to let the depressive Paul forget his obsessive grief for the dead Mary…” Doron Negan, Algemeen Dagblad |
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| "... In Nadja Michael one has finally found a representative of the singing genre who by her many years of experience as a mezzo soprano has built up sufficient depth and who also succeeds in mastering the delicate tessitura of the part. She also has sufficient self-confidence to convincingly play the part of the bald-headed Marietta...." Dirk Altenaer, Der Opernfreund, April 2005 |
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| " ... De Duitse Nadja Michael - voorheen een mezzosopraan van grote klasse - zong hier als Marietta haar eerste echte spraanrol. De stern kon, met een kleine uitzondering in het allerhoogste register, de formidabele rol met gemak aan. Hier leverde een 'nieuwe' sopraan haar indrukwekkende geloofsbrieven af. Ook als actrice was Michael in topvorm, daartoe in niet geringe mate aangespoord door de fantastische regie van Willy Decker." Peter van der Lint, Trow, April 8, 2005 |
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| "…The great discovery was the German Nadja Michael. She has the special vocal power and personality to give the part of Marietta an extraordinary kind of fascination. Also her expressive kind of body language is no less impressive. Smooth and sensual like a dancer she fills the entire podium with her vital and invincible aura..” Bela Luttmer, De Telegraaf, April 8, 2005 |
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| "…Amongst all the soloists, above all the German soprano, Nadja Michael, in her double role Marie/Marietta as a singer and actress, showed an unprecedented brilliant performance. She also puts an end to the fairytale that a soprano voice has to sound as to be "kept in a corpulent body”, to reach a full and strong sound…” Aad van der Ven, Haagsche Courant April 8, 2005 |
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„Don Carlos“, Giuseppe Verdi EBOLI Premiere October 18, 2004, Staatsoper Wien |
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| "…the soloists are dominated by Nadja Michael, as the schemer Eboli. A slim lady, who is capable of enormous passion, who during the song of veils realizes a penchant for oriental luxury as well as mental cruelty…” Reinhard J. Rembeck, Süddeutsche Zeitung |
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| "... However, coupled with luscious-voiced Nadja Michael´s perfect, carnivorously intense Eboli and Simon Yang´s pitchblack inquisitor, you could not hope for a more technically proficient, intelligent, fervently committed cast. Larry L. Lash, Financial Times |
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| "…Nadja Michael is a sensational Eboli, Ramón Vargas successfully fights against the here huge part of Carlos…” Heinz Sichrovsky, Szene |
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| "…Nadja Michael’s Eboli and the Posa of Bo Skovhus were the outstanding performances of the cast…” Joachim Lange, Frankfurter Rundschau online |
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| "... Interessanti le voci femminili: la Tamar non è così incisiva, ma sempre solenne; la Michael è la rivelazione della serata, virtuosa, esuberante e sensuale. Juri Giannini, Giornale della Musica |
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| "…She also interpretes the part in a rather lyrical manner. People are used to more dramatic mezzos such as Waltraud Meier and Violetta Urmana in Vienna. The beautiful and detail loving way Nadja Michael sings the Eboli, some people might never be fully aware of. By means of her slim intonation she shows facets of the part which often remain hidden…” Markus Cerenak, Opernglas |
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"Tannhäuser", Richard Wagner VENUS July 29, 2004, Bayerische Staatsoper |
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| "…Tannhäuser finds in Venus greatest satisfaction of his longings and artistic inspirations for some time. This is not very surprising, as Venus is sung by a woman like Nadja Michael: Sensuality pure in voice and acting. The attraction of the blond Venus, on the one hand optically, by wearing a golden corsage combined with a deep red velvet skirt (costume Buki Shiff) and on the other hand by her dark timbre mezzo, which is present in all heights, was really strong…” "…At the end there were intense bravi and people were stamping their feet for Nadja Michael…” Opernnetz.de (if), 30. Juli 2004 |
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„Don Carlo“, Giuseppe Verdi EBOLI Premiere June 13, 2004, Staatsoper Unter den Linden Berlin |
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| "…Jenis can cope on her own, Norma Fantini in her part as Elisabeth would have needed a kind of help which cannot be expected by somebody like Himmelmann. So she just sings beautifully, but without deeper insight into her role, and stands in the shadow of Nadja Michael, who doesn’t really know who Eboli is but simply trusts the raw heavy metal in her voice by means of which she runs over everything if needs be, no matter what a conductor or director thought about it. Well-deserved special applause...” Nikolaus Hablützel, taz |
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| "…Nadja Michael does not have to fear her future. She is a really thin, snakelike, winding Eboli with a huge capacity of musical potential in her voice…” Klaus Geitel, DIE WELT |
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| "…Nadja Michael cannot get around wearing stiletto heals and straddling in daring positions and she still manages to sing in a flawless coloratura – high respect…” Frederik Hanssen, Der Tagesspiegel |
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| "…The noble Posa of Dalibor Jenis and Nadja Michael’s passionate Eboli are outstanding, Norma Fantini’s complex Elisabeth secures itself a success of respect…” Jörg Königsdorf, Süddeutsche Zeitung |
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| "…The mezzo soprano, Nadja Michael, above all makes a great impression by her spectacular voice, but, if you like, her behaviour, driven by physical urges, suits the part of princess Eboli, which has not been created as the portrayal of human ideas but more as physical power politics…” Klaus-Georg Koch, Berliner Zeitung |
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"Parsifal", Richard Wagner KUNDRY Premiere February 29, 2004, Oper Frankfurt am Main |
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| "…Nadja Michael, the young Kundry from Leipzig, was able to show even more of the her vocal depth in the middle act of her clever and empathic handling of the role. Vocal perfection was not her main argument; the tale of the death of Herzeleid could have had a more plain and at the same time folk song like diction. In each and every moment and every fibre of her presence Nadja Michael clearly showed the multifaceted mixture, the shakiness of the Kundry character. This gave the voice an unusual vibrant intensity, a dazzling and beaming timbre, resulting more from expressiveness than from technical considerations, which revealed all qualities of vocal decadence by the sudden blossoming and elaborate fizzling out. The emotional highlight succeeded in precise concentration while beseeching her evil "laughter…” Hans-Klaus Jungheinrich, Frankfurter Rundschau |
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| "…Nadja Michael was a highly dramatic Kundry, with vehemence and wavering between seductress and fury in the 2. act as well as overexertion. The famous jump "…and laughed” certainly was one of the highlights of the stage performance. At the end standing ovations…” Rudolf Jöckle, Frankfurter Neue Presse |
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| "…amongst all Nadja Michael as Kundry made the strongest long-lasting impression. The singer with the apparent light timbre increased her performance by the ecstatic highlights of her part up to the limits of her voice. The jump over the abyss was overwhelming "and she laughed”, also admirable is the piano culture even after dramatic excesses…” Gerhard Schroth, Frankfurter Allgemeine Zeitung |
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| "…successful role debuts: Nadja Michael as Kundry, surprises already with the first tone. Full of strength and depth, torn. But a dainty and slim person. Evaluation: SUPER…” Dr. Josef Becker, Bild-Zeitung |
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"Tristan und Isolde", Richard Wagner BRANGÄNE Oktober 2001, Carnegie Hall New York |
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| "... And I must mention Nadja Michael, who sang Brangäne, Isolde’s faithful aide. Michael boasts an enormous, beautiful mezzo that will soon be sought on the world’s operatic stages. Her sound is a little diffuse, needing a speck of focus, and— believe it or not—she at times deployed too much volume for this house. But the young German—whose lavish physical beauty will do her no harm—had the crowd on its ear..." Jay Nordlinger, New York Chronicle |
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"Aida", Giuseppe Verdi AMNERIS July 2000, Arena Sferistio, Macerata |
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| Again and again there are "Aida” performances, where the title role is not in the centre of attention, but her opponent Amneris. This is influenced by the fact that the opera figure is going through internal development and that Verdi has composed a gripping final scene for her. In Macerata, the direction and above all the personality of Nadja Michael made Amneris a central figure. Wearing only a transparent veil-scarf over a tricot showing off her physical preferences, she was a really young, loving and erotic daughter of a king, reminding of Salome during the bath scene. The well-positioned voice with the light, strong heights and the metallic tinted depths, added by her stunning appearance made her the star of the evening and makes one curious about the development of her career…” W. Kutzschbach, Opernglas |