“MÉDÉE” Cherubini, MÉDÉE Dec 12, Théâtre des Champs-Elysées Paris

Nadja Michael’s performance of Médée is making operatic history

” …The marvellous actress and singer Nadja Michael’s dramatic soprano masters the musically immensely difficult role, which is still attributed to the great Callas, in a contemporary way – as fascinatingly as the famous Greek diva.
With her vocal means ranging from screams to smoky, whispered, lascivious chansonettes, from adorable allure to thunderous threat, Ms Michael succeeds in creating a portrait of a woman which unites all human contradictions, abysses, and dependences, resulting in a mythical vision, a male projection of anxiety like Lulu.
Who would have thought that there still exists someone who can hold a candle to the likes of Magda Oliviero, Leyla Gencer, or Leonie Rysanek. Nadja Michael carries on their legacy… “
www.der-neue-merker.eu, 12.12

” …Nadja Michael is the singer-actress of our time… “
OPERA Magazin, 03.13

“POPPEA E NERONE” Monteverdi, POPPEA June 12, Teatro Real Madrid

Große Stimme der wandlungsfähigen Michael als Poppea

” …der Schlaf der Poppea, kaum bekleidet mit einem roten Kleid, wie tot in den Armen der Liebe schwebend. Bemerkenswert ist die Leistung der Schaupieler-Sängerin, der unwiderstehlichen Nadja Michael, hier Poppea, auf dem Höhepunkt ihres Sexappeals… “
Le Monde, 06.12

” …große Stimme der wandlungsfähigen Michael als Poppea … nach vier Stunden erwartungsgemäßer Applaus, vor allem für Michael, Castronovo und White… “
El Diario Vasco, 06.12

” …bei der Bewertung der Stimmen war nicht zu klagen. Nadja Michael bot eine Poppea mit aller Kraft und Arroganz der Femme Fatale. Fatal nicht nur für die Menschen in ihrer Umgebung, sondern auch für sich selbst. Die unruhige Akrobatik, die diese Rolle fordert, hatte keine Auswirkung auf ihre überwältigende Rolleninterpretation… “
Alicia Huerta, elimparcial.es, 06.12


“MEDEA IN CORINTO” Mayr, MEDEA July 12, Bayer. Staatsoper München

Woman Scorned

” …But witness Nadja Michael in the title roles, and you find a couple of key clues. She is a dramatic coloratura, who is comfortable in all registers. She can turn on a theatrical dime from piteous to unpardonable. Michael seems also to be inexhaustible, though she strays from pitch here and there, and she commands the stage whenever she appears. Who else can do all that these days? There are few sopranos of Michael’s calibre and even fewer who would put their voices at such risk to learn the role … With such a powerhouse to compete with, singers might think twice before learning the other roles… ”
Sam H. Shirakawa, Opera Blog, 07.12

“MACBETH” 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 03.12

” …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, 23.03.12