Scene from
„Walküre“ by
Richard Wagner.
Roswitha Christina Müller
as Fricka

What the press says


Maguerite ( Damnation de Faust, Hector Berlioz)

BR-Klassik Dirk Kruse:  "Mezzo-soprano Roswitha Christina Müller sings an insightfully unpretentious version of this ballad, otherwise interpreting the role of Marguerite in a dramatic manner. Her Marguerite is more woman than girl, yet consistently credible."

Nürnberger Nachrichten Anja Barckhausen: "However contemporary the cast may be, “Marguerite”, sung with wonderful effortlessness by mezzo-soprano Roswitha  Christina Müller, appeared to be the only character to have truly reached the depths of modern-day drills of love; dressed in an eye-catching, bright red gown matched by her velvety, yet diversely opalescent vocal bouquet. No naive Gretchen figure, but a hopelessly smitten, disdainfully dropped young woman whose Prince Charming for a night turns out to be a devilish delusion."

Nürnberger Zeitung Thomas Heinold: "Here, I liked Roswitha  Christina Müller's interpretation, with her richly darkened mezzo as a lyrically intimate Marguerite, who nonetheless formulated her tortured feelings, caused by love, with great expression."

Opernnetz Renate Freyeisen: "With her dramatic, light, sweeping mezzo-soprano and mastery of the high register, Roswitha Christina Müller is resplendent as Marguerite, her voice dazzling with melodious sound."

 


Fricka ( The Valkyrie, Richard Wagner)

Nuremberg State Theatre

Der Neue Merker - online, Alexander Walther: „… Roswitha Christina Müller's outstanding Fricka …“

Nürnberger Nachrichten, Jens Voskamp: „Roswitha Christina Müller delivers a seductive stage presence and forceful rhetoric ….“

Nürnberger Zeitung, Thomas Heinold: „Roswitha Christina Müller with her demanding, luminous soprano.“

Opernnetz, Renate Freyeisen: „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.“

Süddeutsche Zeitung, Klaus Kalchschmid: „Roswitha Christina Müller minces over the stage as a wonderfully bellowing, razor-sharp Fricka…“

Neue Musikzeitung online, Juan Martin Koch: „With diction as keen as a razor, Roswitha Christina Müller as Fricka tells him what's what…“

Opernfreund-online, Frank Piontek: „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.“

BR-Klassik, Thorsten Preuß: „And also Roswitha Christina Müller's luminously clear mezzo-soprano, which lends the character of Frica emotional depth.“

Donaukurier, Jesko Schulze-Reimpell: „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 …“

Heidenheimer Zeitung, Manfred F. Kubiak: „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.“

 


Fricka ( The Rhine Gold, Richard Wagner)

Nürnberger Nachrichten, Jens Voskamp: "Roswitha Christina Müller delivers a seductive stage presence and forceful rhetoric….”

Nürnberger Zeitung, Thomas Heinold: "Roswitha Christina Müller with her demanding, luminous soprano."

Opernnetz, Renate Freyeisen: "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."

Süddeutsche Zeitung, Klaus Kalchschmid: " Roswitha Christina Müller minces over the stage as a wonderfully bellowing, razor-sharp Fricka…"

Neue Musikzeitung online, Juan Martin Koch: "With diction as keen as a razor, Roswitha Christina Müller as Fricka tells him what's what…"

Opernfreund-online, Frank Piontek: "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."

BR-Klassik, Thorsten Preuß: "And also Roswitha Christina Müller's luminously clear mezzo-soprano, which lends the character of Frica emotional depth."

Donaukurier, Jesko Schulze-Reimpell: " 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…"

Heidenheimer Zeitung, Manfred F. Kubiak: "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."

 

 



Amneris (Aida, Giuseppe Verdi)

Theater Hof 2013, Conductor Arn Goerke, Director Klaus Kusenberg.

Frankenpost, Michael Thumer: „Amneris: if the production team wishes to showcase 'private ordeals against the background of political world history', this undertaking succeeds most emphatically in the person of the Egyptian princess. As the most nuanced character and the production's most expressive artiste, Roswitha Christina Müller propels the already high-class cast and indeed the opera itself to new heights: an extraordinary woman. Neither ancient exoticism nor a present stained by civil war makes her so sublimely tangible; the element which underscores her vibrating, shivering, shimmering, trembling, piercing and effervescent soprano so tremulously and quiveringly is 'more than time: love'. It is the venom of love, jealousy - and its distortion, hate. Amneris pines for Radamès and helps drive him to his ruin. At the opera's close, the artiste lingers, broken, over the couple united in death and peace. She herself merits the compassion she beseeches for the dead.“

Nürnberger Nachrichten, Jens Voskamp: „With her broad, versatile mezzo-soprano, Roswitha Christina Müller portrayed Amneris in a highly compelling, driven manner.“

operapoint, Oliver Hohlbach: „ […] the vocal presence and vigour displayed by Roswitha Christina Müller (Amneris) […] Her dramatic soprano proved the perfect vocal vehicle for her envy and baseness - a delight for the ears in her duet with Aida […]“

 


Azucena (Il Trovatore, Giuseppe Verdi)

Nuremberg State Theater 2012, Conductor Guido Johannes Rumstadt, Director Balazs Kovalik.

BR-Klassik Bayerischer Rundfunk (Bavarian radio station), Barbara Bogen: „ … By contrast, the début by the ensemble’s second new member, Roswitha Christina Müller, constitutes a brilliant vocal success.“

Der Opernfreund online (Opera Lover online review service), Frank Piontek: „Absolutely fantastic. Roswitha Christina Müller transforms the role of Azucena into a (perhaps slightly too youthful) character portrait, avoiding hyperbole in her interpretation of the maniacal mindset of the woman who mistakenly throws her own child into the flames.“

inFranken.de (online review), Monika Beer: „The same applies to another sensational addition to Nuremberg’s State Theatre: Roswitha Christina Müller […] hotly-tipped to play Fricka in the coming season, the mezzo-soprano is likely to be in high demand elsewhere too.“

Nürnberger Zeitung (Nuremberg-based newspaper), Thomas Heinold: „ Roswitha Christina Müller’s Azucena mingles a thirst for revenge, maternal instincts and sheer temperament in what becomes a complex portrait, borne magnificently by her rich, powerful mezzo-soprano, as capable of fiery attacks as it is of shadowy depths.“

Nürnberger Nachrichten, Jens Voskamp: „ As the revengeful witch Azucena, Roswitha Christina Müller uses her vocal skills to blend all earth tones between dramatic mezzo and alto, delivering an exceptional performance.“

Opernetz (Opera network publication), Egon Bezold: „ … Roswitha Christina Müller’s Azucena displays explosively dramatic heights, with blazing, bohemian and all-consuming expressiveness which nonetheless convinces despite the character’s almost bizarre profile.“

nmz online (online review), Juan Martin Koch: „ … Positively towering above her fellow singers, Roswitha Christina Müller is the discovery of the evening as Azucena, successfully conveying the role’s consummate tragedy in a single melodic line. Even if David Yim [...], her scene with Manrico in the second act is the highlight of the performance.“