” …As a singer, Nadja Michael is more than on a par with her lover Simon Keenlyside. The artist knows how to charge every note emotionally and her flexible voice lends terrifyingly real life to her role. A stupendous Marie, who – in prayer and play with her child – knows how to touch the audience in a most eerie way… “
Alicia Huerta, elimparcial.es, 06.13

” …Slowly, Nadja Michael develops a mighty Marie. At the climax of the opera, she is dismissive and cold towards Wozzeck, her voice is sensual and bold for the drum major; and when praying with the child and also at the lullaby in the beginning, she displays frailty despite of her vocal grandeur. Her voice shows metal, lyricism, and sometimes a certain dirtiness, but then again it is of bright brilliance, and so it creates a supremely complex character. The singer seems to be made for this ambivalence… “
Joaquin Rábago, nuvol.com, 06.13

” …Marie’s tessitura is feared because of its heights, contrasts and depths. Nadja Michael’s voice boasts all those qualities naturally and without force, all the while retaining a warm sonority. Her exquisite ability for interpretation puts the audience under her spell. Her way of singing is so natural, one almost forgets it’s an actress one is watching… “
José R. Dïaz Sande, madridteatro.net, 06.13