“ …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

“ …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


” …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