Dorothea Röschmann


Born in Flensburg, Dorothea Röschmann was last year awarded the title of Kammersängerin at the Deutsche Staatsoper Berlin, where she was a member of the ensemble for many years.  She has been a frequent guest at that Salzburg Festival since 1995 and works regularly at the Wiener Staatsoper, Bayerische Staatsoper Munich, Semperoper Dresden, the Royal Opera House Covent Garden and in Berlin.  Renowned as a distinguished Mozartian, she will soon venture in to pastures new with role debuts as Ariadne, Elisabeth/Tannhäuser and Gluck’s Alceste.  A renowned recitalist, she was awarded a Grammy in 2017 for her solo recital CD with Mitsuko Uchida.  She lives with her family in Hamburg.


Performance Schedule

  • 20:00 26 Oct 2017 Gasteig Munich, MUNICH More info  

    BERG: Excerpts from Wozzeck
    *** Interval ***
    BRUCKNER: Symphony No. 4

    Conductor: Daniel Harding
    Soprano: Dorothea Röschmann

  • 19:30 12 Jan 2018 Grand Théâtre de Genève, GENVE More info  

    FRANZ SCHUBERT Lieder und Gesänge aus ‘Wilhelm Meister’, Op. 98a: 5. Heiss mich nicht reden
    FRANZ SCHUBERT Lieder und Gesänge aus ‘Wilhelm Meister’, Op. 98a: 9. So lasst mich scheinen
    FRANZ SCHUBERT Lieder und Gesänge aus ‘Wilhelm Meister’, Op. 98a: 3. Nur wer die Sehnscucht kennt
    FRANZ SCHUBERT Lieder und Gesänge aus ‘Wilhelm Meister’, Op. 98a: 1. Mignon (Kennst du das Land)
    FRANZ SCHUBERT Nachtstück, D. 672
    GUSTAV MAHLER Rückert Lieder, No. 1 Blicke mir nicht in die Lieder!
    GUSTAV MAHLER Rückert Lieder, No. 2 Ich atmet’ einen linden Duft
    GUSTAV MAHLER Rückert Lieder, No. 4 Um Mitternacht
    GUSTAV MAHLER Rückert Lieder, No. 5 Liebst du um Schönheit
    GUSTAV MAHLER Rückert Lieder, No. 3 Ich bin der Welt abhanden gekommen
    ROBERT SCHUMANN Gedichte der Königin Maria Stuart, Op.135: 1. Abschied von Frankreich
    ROBERT SCHUMANN Gedichte der Königin Maria Stuart, Op.135: 2. Nach der Geburt ihres Sohnes
    ROBERT SCHUMANN Gedichte der Königin Maria Stuart, Op.135: 3. An die Königin Elisabeth
    ROBERT SCHUMANN Gedichte der Königin Maria Stuart, Op.135: 4. Abschied von der Welt
    ROBERT SCHUMANN Gedichte der Königin Maria Stuart, Op.135: 5. Gebet
    RICHARD WAGNER Wesendonck Lieder

From The Green Room


  • VERDI 'Otello' (DVD) More info  

    Label: Unitel

    Release Date: 31 Mar 17

    Otello, José Cura

    Desdemona – Dorothea Roschmann

    Iago – Carlos Alvarez

    Cassio – Benjamin Bernheim

    Conductor – Christian Tielmann

    Director – Vincent Boussard

  • Sony Mozart Arias More info  

    Label: Sony Music Classical

    Release Date: 06 Nov 15

    Swedish Radio Symphony Orchestra

    Dorothea Röschmann and Daniel Harding

  • Schumann and Berg More info  

    Label: Decca Classics

    Release Date: 02 Oct 15

    Schumann: Liederkreis and Frauenliebe und Leben

    Berg: Sieben frühe Lieder

    Dorothea Röschmann and Mitsucko Uchida

  • Portraits More info  

    Label: Sony Music Classical

    Release Date: 17 Nov 14

    Röschmann sings Schubert, Schumann, Strauss and Wolf

    Dorothea Röschmann and Malcom Martineau

  • Bach: Christmas Oratorio More info  

    Label: Harmonia Mundi

    Release Date: 10 Jun 14

    Akademie fur Alte Musik Berlin

    Dorothea Röschmann, Werner Gura, Andreas Scholl and René Jacobs

  • HANDEL Famous Arias More info  

    Label: Harmonia Mundi

    Release Date: 27 Oct 08

    The English Consert
    Akademie fur Alte Musik Berlin
    Philharmonia Baroque Orchestra

    Andreas Scholl, Dorothea Röschmann, Mark Padmore, Lorraine Hunt, Andrew Manze and Nicholas McGegan

  • BACH Dialogue Cantatas More info  

    Label: Deutsche Grammophone

    Release Date: 15 Oct 07

    Berliner Barock Solisten

    Thomas Quasthoff, Dorothea Röschmann and Rainer Kussmaul

  • BACH St. Matthew Passion More info  

    Label: Teldech

    Release Date: 26 Mar 07

    Concentus musicus Wien

    Arnold Schoenberg Chor, Bernarda Fink, Elisabeth von Magnus, Dorothea Röschmann, Christoph Prégardien, Michael Schade, Oliver Widmer and Nikolaus Harnoncourt

  • BRAHMS Ein Deutsches Requiem More info  

    Label: EMI Classics

    Release Date: 05 Mar 07

    Berliner Philharmoniker

    Dorothea Röschmann, Thomas Quasthoff and Simon Rattle

  • HANDEL Giustino More info  

    Label: Harmonia Mundi

    Release Date: 09 Nov 05

    Freiburger Barockorchester
    Cantatus Halle

    Michael Chance, Dorothea Röschmann, Dawn Kotoski, Juliana Gondek, Jennifer Lane, Drew Minter, Mark Padmore, Dean Ely and Nicholas McGegan

  • BACH Secular Cantatas More info  

    Label: Archiv Produktion

    Release Date: 01 Oct 99

    Ex Tempore
    Cologne Musica Antiqua

    Dorothea Röschmann, Axel Köhler, Christoph Genz, Hans-Georg Wimmer and Reinhard Goebel

  • BACH Cantatas Vol. 8 More info  

    Label: Erato

    Release Date: 19 Feb 99

    Amsterdam Baroque Choir
    Amsterdam Baroque Orchestra

    Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Ton Koopman, Elisabeth von Magnus and Dorothea Röschmann

  • HANDEL Messiah More info  

    Label: Archiv Produktion

    Release Date: 06 Oct 97

    Gabrieli Consort and Players

    Dorothea Röschmann, Susan Gritton, Bernada Fink, Charles Daniels, Neal Davies and Paul McCreesh

  • 08 Jul 17 Verdi Otello
    Royal Opera House, Covent Garden
    More info  

    “Röschmann’s Desdemona was something really quite special.  Right from her very first entry, she gave notice of a very special evening to follow.  The voice, with its attractive fast vibrato, is instantly recognizable.  This was a stronger Desdemona than most, one really got a sense of her betrayal and she refused to accept it meekly….Her cry of “Ah Emilia addio” descending from the A-sharp was absolutely heartbreaking – so much pain in the sound yet with its beauty never compromised.  Most impressive.”

    Opera Traveller, 9 July 2017

  • 25 Apr 17 Mozart Le nozza di Figaro
    Staatsoper Unter den Linden
    More info  

    “Dorothea Röschmann’s Countess offered Mozart on the very grandest scale, even beyond Jessye Norman. The climax of ‘Dove sono’ was well-nigh Wagnerian, although alas, the audience ruined the end of the aria by applauding for several bars before it had finished.”

    Mark Berry, Boulezian, 26 April 2017

  • 31 Mar 17 Verdi Otello (DVD)
    Osterfestspiele Salzburg
    More info  

    “Röschmann is wonderful.  She sings absolutely beautifully and creates just about the ideal Desdemona; vulnerable, faithful and with a certain sense of inevitability.”

    John Opera Rambling, 31 May 2017

  • 11 Jul 16 Recital 11/07/2016
    Prinzregententheater, Munich
    More info  

    “Trotzdem ist der Höhepunkt dieses Abends bereits vor der Pause erreicht: Mit welcher Präsenz und mit welch ausgefeiltem sängerischem Vermögen Röschmann Gustav Mahlers Fünf Lieder nach Texten von Friedrich Rückert durchdringt, insbesondere das ätherische ‘Ich atmet’ einen linden Duft’, das zärtliche ‘Liebst du um Schönheit’ und das entrückte ‘Ich bin der Welt abhanden gekommen’, ist bezaubernd.”

    “‘The highlight of the evening was achieved before the break. Röschmann brings presence and sophistication to the five Mahler songs’…’they were enchanting'”
    Andreas Pernpeintner, Süddeutsche Zeitung, 12 July 2016 

  • 30 May 16 Weber Der Freischütz
    Deutsche Staatsoper Berlin
    More info  

    “Dorothea Röschmann equally dazzled with authentic virtue as Agathe. She is modest letting her voice convince. Her purity moved me to tears with her ‘Und ob die Wolke sie verhülle’, as she prays to heaven to protect her after her foreboding dream where she is shot by Max.”
    David Pinedo, Opera Today, 12 September 2016

  • 15 Apr 16 Janáček Jenůfa
    Vienna State Opera
    More info  

    “(…) ausdrucksvoll und farbenreich singende Dorothea Röschmann”

    “Dorothea Röschmann sings with expression and colour.”
    Wilhelm Sinkovicz, Die Presse, 7 April 2016 

    “Dorothea Röschmann ist als Jenufa in Bestverfassung. Überzeugend mit berührender Innigkeit und schön gefärbten Sopran, gibt sie die unglücklich Liebende, die verzweifelte Mutter, die ihr Kind verliert und sich am Ende mit ihrem Schicksal versöhnt.”

    “Dorothea Röschmann as Jenufa is in fabulous shape. With touching sincerity and a beautifully coloured voice, she convincingly embodies the unhappy lover, the desperate mother who loses her child and reconciles with her fate at the end.”
    Susanne Zobl, News, 7 April 2016 

  • 01 Apr 16 Verdi Otello
    Salzburg Easter Festival
    More info  

    “Diese Desdemona weiß, dass sie ermordet wird, fast sehnt sie sich danach, alles andere wäre ein Unglück. Zärtlich geht Röschmann das Ave Maria und vor allem das Lied von der Weide an, das ihren Schmerz sublimiert. Ihre hohen Töne fluten wie ein Schatten aus dem Jenseits: der sängerische Höhepunkt des Abends.”

    “This Desdemona knows she will be murdered and almost longs for it as if anything else would be a disaster. Affectionately she approaches the Ave Maria and especially the Willow Song, which alleviates her pain. her high notes flood like a shadow from beyond: the vocal highlight of the evening.”
    Reinhard J. Brembeck, Süddeitsche Zeitung, 30 March 2016 

    “Dorothea Röschmann gibt ihrer in Weiß gewandeten Desdemona einen ausdrucksstarken Sopran, der explosive Kraft entfesseln, aber auch herzerweichendes Klage-Melos verströmen kann.”

    Dorothea Röschmann gives an expressive Desdomona that unleashes explosive power, but can also exude air of heart-melting grievance.”
    Otto Paul Burkhardt, Südwest Presse, 22 March 2016 

    “Sie bezaubert mit ihrer lyrischen Dramatik, den feinen Bögen und der verinnerlichten Klarheit ihres Soprans.”

    “She [Dorothea Röschmann] enchants with her lyrical drama, fine phrases and the embodied clarity of her soprano voice.”
    Judith Belfkih, Wiener Zeitung, 21 March 2016 

    “(…) deren Desdemona eine in jeder Hinsicht unangestrengte Perfektion garantierte.”

    “Dorothea Röschmann’s Desdemona guaranteed effortless perfection in every sense.”
    Michael Ernst, Neue Musikzeitung, 20 March 2016 

    “Insbesondere in der Todesstunde beweist Dorothea Röschmann, dass sie neben orkanhafter Vehemenz in den dramatischen, klangdichten Passagen auch die ganz zarten Momente mit sehr viel Feingefühl erfüllen kann.”

    “Dorothea Röschmann proves, particularly in the hour of death, that she is able to show hurricane-like vehemence in the dramatic passages, as well as fill tender moments with sensitiveness.”
    Michaela Schabel,, 19 March 2016 

    “Röschmann als sorgenvolle Desdemona berührte die Herzen des Zuhörers mit ihrer rührseligen Liebeserklärung an Otello zum Ende des ersten Akts und, mit sich selbst im Reinen, mit ihrem sehr getragenen Weidenlied, wobei besonders ihre stimmliche Präsenz und Leichtigkeit in allen Lagen herausragend war. Röschmanns dynamisches Spektrum reichte vom hauchzarten Wispern bis zum entsetzlichen Verzweiflungsschrei.”

    “Röschmann as sorrowful Desdemona touched the audience with the declaration of her love to Otello towards the end of the first act. Also her sustained performance of the Willow Song was moving and showed her vocal presence and lightness in all ranges. Her dynamic variety ranges from a gentle whisper to a horrifying scream of despair.”
    Christine Arnold, Bachtrack, 21 March 2016 

  • 15 Jan 16 Berg Seven Early Songs
    Usher Hall, Scottish Chamber Orchestra
    More info  

    “Her rich, buoyant voice was just right for Berg’s shimmering fin-de-siècle sound world, cresting the top notes with sumptuous bloom, and matching the dark, fruity orchestral textures like a diamond against a black cushion. At times, such as at the end of Traumgekrönt, she seemed almost to settle into the beauty of her own sound, and it was remarkable that she could move so easily between the knowing awareness of Liebesode and the innocent, almost childlike feeling of Im Zimmer.”
    Simon Thompson, Seen and Heard International, 15 January 2016 

  • 09 Dec 15 Schumann & Berg Decca CD
    Wigmore Hall with Mitsuko Uchida
    More info  

    “‘Right from the start , we get a sense of the quality in store – Röschmann’s interpretative imagination’…’the sensuality of Röschmann’s voice, rich and even plummy in its lower register but soaring with purity and point to its higher reaches…It’s extremely seductive and powerful’…’the intelligence and commitment of her performance elevate the poetry'”
    Hugo Shirley, Gramophone Magazine, December 2015

  • 17 Nov 15 Mozart Arias CD
    Swedish Radio Symphony Orchestra & Daniel Harding
    More info  

    “This recording is a fitting tribute to a composer whose work is legendary, and whose influence upon music is evident not only in his own genre but in the industry as a whole. Opera fans are going to be delighted with this release and, if they have not already, will surely seek out Roschmann’s previous albums.”
    Jackie Smith, Cargo Art, 9 November 2015 

    “Dorothea Röschmann bei mir Schleife. Zu Hause, im Auto, im Bus.  Schon lange habe ich keine so üppig, reich und edel timbrierte Stimme mehr Mozart singen gehört. Da muss man schon zu den Hoch-Zeiten einer Sena Jurinac, Leyla Gencer, Edda Moser, Mirella Freni oder Julia Varady zurückgehen, um auf adäquate Vergleiche zurückgreifen zu können. Live anlässlich eines Konzertes  in der Berwaldhallen in Stockholm im November 2014 aufgenommen, bescheren uns die Röschmann, das Swedisch Radio Symphony Orchestra unter Daniel Harding das ultimative Mozart-Hörerlebnis. Fokussiert auf die dramatischen Arien aus Idomeneo, La Clemenza die Tito und Don Giovanni inkl. der viel zu selten aufgeführten Konzertarie ‘Bella mia fiamma, Addio’ KV 528, enthält die CD mit der Arie ‘Solitudine amiche … Zeffiretti lusinghieri’ (Idomeneo, Ilia) und den beiden Arien der Figaro Gräfin auch noch akustische Reminiszenzen an die lyrischere Phase ihrer Karriere.”
    Dr Ingobert Waltenberger, Der Neue Merker, November 2015 

    “Le timbre mûr, éloquent, charnel et aussi très investi de la soprano allemande Dorothea Röschmann (née en Allemagne, à Flensbourg en juin 1967) nous touche infiniment : depuis sa coopération avec René Jacobs dans des réalisations qui demeurent éblouissantes (Alessandro Scarlatti: Il Primo Omicidio, entre autres – pilier de toute discographie pour les amoureux d’oratorios et d’opéras baroques du XVIIè), la chanteuse sait colorer, phraser, nuancer et surtout articuler le texte comme peu, avec une intelligence de la situation qui éclaire son sens de la prosodie. Un chant intérieur, souvent embrasé qui la conduit naturellement aux emplois lyriques évidemment mozartiens.”
    Lucas Irom, Classique News, 7 November 2015 

    “Die Vielfalt an Frauengestalten ist in Mozarts Opern unerschöpflich. Da haben wir die tragische, die rasende oder kokette, die ins Komische gebrochene oder die leidende Frauenrolle. Dorothea Röschmann beherrscht sie alle. Begleitet vom Swedish Radio Symphony Orchestra unter dem phänomenalen Daniel Harding erleben wir die große Sopranistin in höchster Erregung bei ‘Oh smania! Oh Furie! … D’Oreste, d’Aiace’ aus ‘Idomeneo’ oder als Verkörperung eines von Mozart einzigartig idealisierten Frauenbildes voller Reinheit und Menschlichkeit in Arien der Gräfin Almaviva aus ‘Le Nozze die Figaro’. Neben Arien aus ‘Don Giovanni’ und ‘Tito’ ist aber auch die Konzertarie ‘Bella mia fiamma, addio!’ enthalten, die Mozart einmal voller Abschiedsschmerz in Prag 1787 für Josepha Duschek schrieb.”
    Helmet Peters, Klassikerleben, November 2015 

    “‘Röschmann turns the slight edge on her tone to advantage in a performance that mingles tenderness, fire and neurotic obsessiveness.’…’Röschmann flawlessly negotiates the chromatic minefields and brings a moving humanity to this scene of a man awaiting his death, culminating in a climax of terrifying desperation.'”
    Richard Wigmore, Gramophone Magazine, December 2015

    “Röschmann works in detail, meaning that each of these characterizations, line by line, reveals a three-dimensional human being. Take the disc’s three opening tracks, presenting Mozart’s most wildly emotional women. ‘D’Oreste d’Aiace’ reveals Elettra’s fury with all the intensity required, but vulnerability and hurt, for a change, are evident as well. Singing ‘Deh, se piacer mi vuoi’—a captivating, too-little-known aria, one of the gems of the Clemenza score—the soprano ideally projects Vitellia’s sexy manipulativeness. Also included is that character’s more familiar ‘Non più di fiori,’ in which Röschmann immerses herself totally in this harrowing self-examination, with impressive richness and breadth in her lower register.”
    Roger Pines, Opera News 

  • 07 Nov 15 Mozart Le nozze di Figaro
    Deutsche Staatsoper, Berlin
    More info  

    “Dorothea Röschmann ist natürlich die Gräfin unserer Zeit. Porgi Amor geht nicht besser.”
    Maria Ossowski, RBB Online, 8 November 2015 

    “Dorotheas Röschmanns Gräfin muss man dringend unter Naturschutz stellen. Es singt aus ihr mit Macht heraus, es kündet derart von Einsamkeit und Verletztheit, dass es in diesem Inszenierungszusammenhang fast schon stört.”
    Elmar Krekeler, Die Welt, November 2015 

    “Dorothea Röschmann is also a Countess par excellence, very mature and deep charismatic voice completed her great stage presence.”
    Michael Santosa, Opera Santosa, November 2015 

    “DOROTHEA RÖSCHMANN ist zu einer Gräfin allererster Güte gereift. Mit großer Linie und üppigem Timbre nimmt man ihr die Leidensfigur in jedem Moment ab.”
    Christian Konz, Der Neue Merker, 13 November 2015 

  • 12 Jun 15 Mozart Don Giovanni
    The Royal Opera House, Covent Garden
    More info  

    “Of the women it’s Dorothea Röschmann, singing and suffering wonderfully as Donna Elvira, who steals the honours. The German soprano is in glorious, sensuous voice.”
    Mark Valencia, What’s on Stage, 13 June 2015 

    “Of the women, it’s Dorothea Röschmann’s Elvira that seizes this limp production by the balls – urgent, desperate, at times exquisitely unlovely, deploying every vocal colour and quirk of phrasing with intent.”
    Alexandra Coghlan, The Arts Desk, 13 June 2015 

    “Albina Shagimuratova’s bright-toned Donna Anna and Dorothea Roschmann’ s ever-rejected Donna Elvira are wonderful performances.”
    Edward Bhesania, The Stage, 14 June 2015 

    “Dorothea Röschmann is a well known Donna Elvira, and her fervent, passionate style in both singing and acting is exceptionally suited to the role.”
    Melanie Eskenazi, Music OMH, 13 June 2015 

    “As Donna Elvira, Dorothea Röschmann approached the same pure sound quality, and went further in injecting character into the voice: I was completely convinced by Röschmann’s well-intentioned but despairing goodness.”
    ★★★★ David Karlin, Bachtrack, 17 June 2015 

    “The effect of this casting was to give a stronger sense of balance between Donna Anna and Donna Elvira, with Dorothea Roschmann bringing real dramatic intensity to Donna Elvira. Here really was an intense woman scorned, and in her arias she used every trick in the musico-dramatic book to give us a performance which as vivid in its portrayal.”
    Robert Hugill, Planet Hugill, 19 June 2015 

    “The most complete performance was the Elvira of Dorothea Röschmann. Fussy, proud and yet clearly vulnerable, this spurned ‘wife’ elicited both respect and sympathy on her first (slightly bedraggled) appearance, treading a fine line between brutalized victim and figure of fun. ‘Mi tradi’ was exemplary, with cascades of sound filling the auditorium and yet with the melodic runs very much under control.”
    Russ McDonald, Opera Magazine, August 2015

  • 03 May 15 Recital - 3rd May 2015
    Wigmore Hall with Mitsuko Uchida
    More info  

    “This lieder recital was the most rewarding I have heard for a long time, either in concert, or on record.”
    Geoff Diggines, Seen and Heard International, 6 May 2015 

    “The full velvet of the Röschmann sound, which seems to have grown of late but always had that compound of fast vibrato with luminous halo offsetting it, was unleashed in Berg’s Seven Early Songs”
    David Nice, The Arts Desk, 6th May 2015 

    “Röschmann conveyed excitement, contentment (a difficult task), joy, really everything for which she was asked. Once again, there was little distinction to make between the two parts: this was a true partnership, one I felt privileged to have heard.”
    Mark Berry, Boulezian Blogspot, 7 May 2015 

    “Röschmann seemed at once eminently comfortable with Schumann’s vocal writing and uncanny in her ability to make the utterer of Chamisso’s lines — the wholly self-sacrificing, husband-worshipping woman whom we may now find hard to recognise — a living, heartfelt presence. I was ever more moved, and sat tensely expectant when it came to the final song and that awesome (rather than awkward) jump from the bliss of childbirth to the tragedy of the husband’s loss. How would this be negotiated? Röschmann glowed in the darkness. Touchingly she cadenced on ‘Du meine Welt!’ (‘You, my world!’), and it fell to Uchida in that extraordinary piano postlude (a virtual bursting into speech) to draw the work’s torrent of emotions to a closing calm: the restored hope embodied in the last-minute return of the opening bars.”
    Paul Driver, The Sunday Times, 10 May 2015 

  • 22 Apr 15 Recital - 22nd April 2015
    Carnegie Hall with Mitsuko Uchida
    More info  

    “The two great artists seemed in total artistic synch and gave great pleasure, ending with two contrasting settings of Goethe’s ‘Mignon songs’ –– by Schubert and Wolf –– as sublime encores.”
    David Shengold, Gay City News, 29 April 2015 

  • 19 Apr 15 Recital - 19th April 2015
    Spivey Hall with Mitsuko Uchida
    More info  

    “Röschmann’s open-throated high register is grounded and downright remarkable; the high A in Berg’s third song ‘Die Nachtigall’ was blissfully resonant…Röschmann and Uchida proved to be ideal collaborators.”
    Stephanie Adrian, Arts Atlanta, 21 April 2015 

  • 12 Apr 15 Purcell Dido and Aeneas
    Carnegie Hall
    More info  

    “It was no surprise that Ms. Röschmann was also such an affecting Dido…Ms. Röschmann commanded the stage as Dido, especially in her nobly wrenching account of ‘Dido’s Lament’.”
    Anthony Tommasini, The New York Times, 13 April 2015 

    “But the afternoon belonged, let’s face it, to Röschmann. She is why we were all there, I think, on a sunny Sunday. Her first assignment was to sing the lament from The Fairy Queen, ‘O let me weep’. Dido has the big lament, of course—but this junior lament was kind of a warm-up. Röschmann sang as she typically does, although I can’t remember having heard her sing in English. She was in tune. She was unfaltering. She was beautiful of voice. She was understanding. She was expressive. She was ‘impactful’, as they say these days. (Too ugly a word to apply to Röschmann.) The plain truth is, she was pretty much perfect (and I say ‘pretty much’ as a reflexive hedge).
    I regard her as a historic singer, and singing musician.”
    Jay Nordlinger, The New Criterion, 13 April 2015 

    “Dorothea Röschmann offering us her whole soul and beating heart from the very first moment of the performance”
    Earwormopera Blog, 13 Apri 2015 

    “The afternoon’s success depended heavily on the excellent concertmistress [Dorothea Röschmann].”
    David Shengold, Gay City News, 29 April 2015 

  • 18 Jan 15 Weber Der Freischütz
    Deutsche Oper, Berlin
    More info  

    “In Agatha’s own big aria, ‘Leise, leise’ the soprano Dorothea Röschmann was superb on opening night Sunday, particularly in the final vivace section, sung with uninhibited passion yet also flawless accuracy.”
    George Loomis, The New York Times, 22 January 2015 

    “Dorothea Röschmann ist mit ihrem jugendlich-dramatischem Soprantimbre eine ergreifende Agathe.”
    Julia Spinola, Deutschlandfunk, 19 January 2015