Dorothea Röschmann

Introduction

Born in Flensburg, Germany, Dorothea Röschmann made a critically acclaimed début at the 1995 Salzburg Festival as Susanna with Harnoncourt and has returned to the Festival many times to sing Donna Elvira, Countess Almaviva, Ilia, Servilia, Nannetta, Pamina and Vitellia, with conductors such as Abbado, Harding, Mackerras and von Dohnányi. In the 2014 festival she sang in Fierrabras with Ingo Metzmacher.

At the Metropolitan Opera she has sung Susanna, Pamina, Elvira and Ilia with Levine and, at the Royal Opera House, Covent Garden her roles have included Pamina and Fiordiligi with Sir Colin Davis and Countess Almaviva with Sir Antonio Pappano. At La Scala, Milan she has sung the Countess and has also sung Donna Elvira with the company at the Bolshoi with Barenboim. At the Vienna Staatsoper she has appeared as the Countess and Susanna also as Marschallin with Sir Simon Rattle. At the Bayerische Staatsoper, Munich she has sung Zerlina, Susanna, Ännchen, Marzelline, Anne Trulove and Rodelinda. She is also closely associated with the Deutsche Staatsoper, Berlin, where her roles include Ännchen with Mehta; Nannetta with Abbado; Eva, Elsa, Pamina, Fiordiligi, Susanna, Zerlina, Micäela, Donna Elvira and the Countess with Barenboim. She has also appeared at La Monnaie, Brussels as Norina and at the Bastille, Paris as the Countess and as Pamina.  

In the 2013/14 season she sang the title role in Theodora at Carnegie Hall, Vier letzte lieder with Daniel Barenboim / Berliner Staatskapelle and Zubin Mehta / Palau de les Arts. Countess Rosina Almaviva in Wiener Staatsoper’s Le nozze di Figaro tour to Oman. Faustszenen with Daniel Harding / Berlin Philharmonic, and The Fairy Queen with Harnoncourt / Concentus Musicus Wien at the Salzburg Festival.

This season’s highlights include a European tour of Mahler’s 4th Symphony with Mariss Jansons / Royal Concertgebouw Orchestra, Vier letzte lieder with Daniel Harding / Filarmonica della Scala and Yannick Nézet-Séguin / Rotterdam Philharmonic Orchestra, Berg Sieben frühe lieder with Marc Albrecht / Rundfunk Sinfonieorchester Berlin. Agathe (Der Freuschütz) at the Deutsche Staatsoper Berlin, Die Schöpfung with Daniel Harding / Swedish Radio Symphony Orchestra, Dido in Dido and Aeneas at Carnegie Hall with Les Violons du Roy and a U.S recital tour with Mitsuko Uchida.

Her many recital appearances include New York’s Carnegie Hall, London’s Wigmore Hall, Amsterdam’s Het Concertgebouw, Vienna’s  Konzerthaus and venues in Antwerp, Lisbon, Madrid, Cologne, Brussels, Oslo and at the Edinburgh, Munich, and Schwarzenberg Festivals.  In 2013 she sang with Daniel Barenboim at the Schiller Theater in Berlin and with Mitsuko Uchida at the Lucerne Festival.

Her recordings include Countess Almaviva with Harnoncourt; Pamina and Nannetta with Abbado; Puccini's 'Suor Angelica' with Pappano; Strauss’ ‘Four Last Songs’ with Nézet-Séguin; Brahms’ ‘Requiem’ with Rattle (winner of a Grammy and Gramophone Award); Mahler’s Symphony No.4 with Harding; Handel's 'Neun Deutsche Arien' with the Akademie für Alte Musik Berlin; 'Messiah' with McCreesh; Pergolesi’s ‘Stabat Mater’ with David Daniels and Fabio Biondi and a disc of Schumann songs with Ian Bostridge and Graham Johnson. This season Sony Classical released Dorothea’s debut recital CD, ‘Portraits’. 

For an up-to-date biography, please contact Henry Lindsay

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Schedule

Schloss Grafenegg, GRAFENEGG

LEHAR: 'The Merry Widow'

Conductor: Yutaka Sado

HANNA GLAWARI: DOROTHEA RÖSCHMANN
Graf Danilo: Daniel Schmutzhard
Valencienne: Daniela Fally
Camille de Rosillon: Peter Sonn
Baron Zeta: Michael Maertens
Sprecher Njegus/Erzähler: Christoph Wagner-Trenkwitz

Arnold Schoenberg Choir
Tonkünstler Orchestra

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Press

Recital 11/07/2016

Prinzregententheater, Munich

'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, 12th July 2016

Janáček

Jenůfa

Vienna State Opera

“(…) ausdrucksvoll und farbenreich singende Dorothea Röschmann”.

Dorothea Röschmann sings with expression and colour. 

Wilhelm Sinkovicz, Die Presse, 7th 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, 7th April 2016

Verdi

Otello

Salzburg Easter Festival

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, 30th 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, 22nd 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, 21st 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, 20th 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, klassik.com, 19th 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, 21st March 2016

Berg

Seven Early Songs

Usher Hall, Scottish Chamber Orchestra

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, 15th January 2016

Schumann & Berg

Decca CD

Wigmore Hall with Mitsuko Uchida

'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

Mozart Arias CD

Swedish Radio Symphony Orchestra & Daniel Harding

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, 9th 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, 7th 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

Mozart

Le nozze di Figaro

Deutsche Staatsoper, Berlin

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

Mozart

Don Giovanni

The Royal Opera House, Covent Garden

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, 13th 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, 13th June 2015
Albina Shagimuratova’s bright-toned Donna Anna and Dorothea Roschmann’ s ever-rejected Donna Elvira are wonderful performances. Edward Bhesania, The Stage, 14th 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, 13th 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, Bach Track, 17th 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, 19th 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

Recital - 3rd May 2015

Wigmore Hall with Mitsuko Uchida

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, 6th 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, 7th 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, 10th May 2015

Recital - 22nd April 2015

Carnegie Hall with Mitsuko Uchida

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, 29th April 2015

Recital - 19th April 2015

Spivey Hall with Mitsuko Uchida

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, April 21st 2015

Purcell

Dido and Aeneas

Carnegie Hall

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, April 13th 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, April 13th 2015
Dorothea Röschmann offering us her whole soul and beating heart from the very first moment of the performance Earwormopera Blog, April 13th 2015
The afternoon’s success depended heavily on the excellent concertmistress [Dorothea Röschmann]. David Shengold, Gay City News, 29th April 2015

Weber

Der Freischütz

Deutsche Oper, Berlin

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, 22nd January 2015
Dorothea Röschmann ist mit ihrem jugendlich-dramatischem Soprantimbre eine ergreifende Agathe. Julia Spinola, Deutschlandfunk, 19th January 2015

Portraits

Dorothea Röschmann & Malcolm Martineau

Mais le vrai miracle de ce disque, manifeste qui renoue avec la grande histoire du lied, reste l’ensemble consacré à la Mignon de Goethe par Wolf. Ici, un seul modèle absolu, Elisabeth Schwarzkopf. La longueur de la voix de Röschmann, l’alternance de langueur érotique et d’égarement hystérique qu’elle met ici trouvent l’exact esprit de Wolf.

Disque majeur qui aura – on l’espère – une suite. Cette voix doit nous donner la nouvelle grande version des Brentano de Richard Strauss – que l’on espère depuis le disque anthologique d’Edda Moser.
Jean-Charles Hoffelé, Artamag, 30th December 2014
"Right now there’s something on a more intimate scale, a recital from soprano Dorothea Röschmann, which she’s called Portraits. A personal gallery of women in song, from Schubert, Schumann, Hugo Wolf and Richard Strauss. Now, Röschmann’s chosen four songs, she says, which show Strauss’ “sympathetic portrayal of the feminine psyche” including the twilight vision of Morgen [Tomorrow]. Now I would have chosen this to hear Röschmann but, Malcolm Martineau’s playing of the introduction and postlude are worth the price of admission on their own."

"Morgen [Tomorrow], the song by Richard Strauss, inhabited with touching simplicity by Dorothea Röschmann and a voice framed with real sensitivity by Malcolm Martineau. Morgen doesn’t often come off as well as this without orchestra and when you add the other female personalities Röschmann’s chosen for her recital - from Schubert, the figures of Goethe’s Mignon and Gretchen Schumann, offering the pre-execution farewells of Mary Queen of Scots, and Wolf, bringing a physiological investigation of Mignon’s suffering – this is a first rate recital"
Andrew McGregor, BBC Radio 3 - CD Review "Building a Library"
The outstanding German soprano of her generation bookends this gorgeous new Lieder recital with Schubert’s and Wolf’s complementary settings of Mignon’s songs from Goethe’s The Apprentice Years of Wilhelm Meister. Schubert’s are less well known and well regarded than Wolf’s, while her Schumann and Strauss choices balance the former’s comparatively rare Mary Stuart Songs with four of the latter’s most popular “hits”: Die Nacht (Night), Morgen (Tomorrow), Schlechtes Wetter (Bad Weather) and Befreit (Released). It’s an emotionally challenging programme. Röschmann’s pianist, Martineau, is exceptional — almost the most beautiful passage on the disc is the postlude to Morgen. Astonishingly, this is the singer’s first disc of Lieder since her 2002 joint Schumann album with Ian Bostridge. Now she is at the height of her powers, vocally. Her rich, silver-flecked soprano brings a rare expressive and passionate intensity to Schubert’s famed Gretchen am Spinnrade and to Wolf’s Mignon singing Kennst Du das Land? (Do you know the land where the lemon-tree blossoms?).  Hugh Canning, The Sunday Times, 25th January 2015

Schubert

Fierrabras

Salzburg Festival

Unter den Solisten sind Benjamin Bernheim als Eginhard mit kraftvollem Tenor und schönem Timbre sowie Dorothea Röschmann als Florinda mit großer Ausstrahlung und dramatischer Stimme die besten.  Kurier
Julia Kleiter als Emma, Dorothea Röschmann als Florinda, Markus Werba als Roland, dazu der profunde Georg Zeppenfeld als Kaiser Karl und Peter Kálmán als Gegenspieler Boland - gesungen wird durchwegs tadellos und charakterkonform.  Ernst P. Strobl, Salzburg Nachrichten, 14th August 2014
Dorothea Röschmann begeisterte als Florinda  Kleine Zeitung

Recital 8th June 2014

Wigmore Hall

'Few living singers can navigate this territory better than Dorothea Röschmann' ... 'Röschmann outlined, with enormous subtlety, Liszt's emotional complexities and brought ravishing colour to Strauss' ... 'The consummate artistry of both singer and pianist that made this recital such joy, and pain, to behold.' Guy Dammann, The Guardian, 11th June 2014

Strauss

Vier Letzte Lieder

Berlin Staatskapelle, Berlin Philharmonie

Dorothea Röschmann’s voice has luminosity and great expression of maturity, matching these songs of farewell…The anxious, melancholy mood, parting from summer into “September” she met delicately with heartfelt conclusion…Dorothea Röschmann sung the last song with harmonious nuances of melancholy, creating a dreamy transfiguration; and formulated the final question of death with anxious foreboding. Bernd Hoppe, Opera Lounge, 24th March 2014

HANDEL

Theodora

The English Concert/Bicket at Carnegie Hall, New York

"Dorothea Röschmann as the title character, Sara Connolly in the mezzo role of Irene, countertenor David Daniels as Didymus, tenor Kurt Streit as his friend Septimmius and Neal Davies, bass-baritone, as Valens - were uniformly outstanding, more musically and emotionally expressive than any comparable cast on record." ... "Röschmann's soprano is rich, quasi-mezzo in color, closer to the sound of Lorraine Hunt Lieberson's characterization than Dawn Upshaw's and she combined the virtues of both those singers. She had emotional and aesthetic gravity, an inherent sense of faith and determination, and she sang with clear, elegant phrasing." George Grella, New York Classical Review, February 03, 2014
"The performance of the title rôle by soprano Dorothea Röschmann was a monumental achievement." ... "Ms. Röschmann’s performance enabled the listener to see Theodora as a woman, not an archetype; and a woman for whom love and faith render the greatest tortures mere tests of her soul." Joseph Newsome, Voix des arts, February 2014
The soprano Dorothea Röschmann offered a deeply committed and affecting performance in the title role, her lustrous voice intimate and passionate by turns as she conveyed the humiliated woman’s pain in “With darkness deep as is my woe." Vivien Schweitzer, The New York Times, February 03, 2014

Recital - August 2013

Kultur und Kongresszentrum, Lucerne Festival

"Der Höhepunkt kam am Schluss: In Schumanns Zyklus «Frauenliebe und Leben» für Mezzosopran oder Alt verschmolzen Stimme, Wortlaut und Klavierklang vollkommen."
Fritz Schaub, Neue Luzerner Zeitung

MOZART

Le nozze di Figaro

Los Angeles Philharmonic/Duidamel at Walt Disney Concert Hall

In two great arias, Mozart makes it easy for any competent soprano to portray the Countess as a sympathetic wronged woman. Röschmann went deeper. The great Countess of our time, she was here a formidable figure of magnificence. Mark Swed, LA Times, 20 May 2013
In this consistently strong cast, it is Dorothea Roschmann, however, who commands our attention as Countess Almaviva. Her performance captures perfectly the sadness of this proud woman trapped in a loveless marriage to a philandering husband. Her lamenting aria, "Dove sono" was heartbreakingly poignant and dulcetly pure of tone. Jim Farber, Press Telegram, 21 May 2013

Recital - April 2013

Wigmore Hall, London

Röschmann's Rückert Lieder, meanwhile proved intensely spiritual rather than world-weary or nostalgic. Her voice, breathtakingly beautiful, climbed ecstatically towards its encounter with God in Um Mitternacht, and seemed to float away peacefully from the Earth at the end of Ich bin der Welt adhanden gekommen. Tim Ashley, The Guardian, 9 April 2013

Recital - January 2013

Carnegie Hall, New York

Sublimity is a term that should never be used lightly. Still, it was unavoidable in the best moments — and there were plenty — of a recital that the German soprano Dorothea Röschmann presented at Zankel Hall on Wednesday evening.
A passage near the start of “Kennst Du das Land” (“Do You Know the Land”) offered one of the evening’s loveliest moments when Ms. Röschmann dipped into her wine-dark lower range, as when a bright clarinet suddenly reveals its sumptuous chalumeau register.
A lingering roar of approval prompted two encores. Steve Smith, The New York Times, 24 January 2013

MOZART

Le nozze di Figaro

Teatro alla Scala, Milan

Her 'Dove sono' was sung with infinite tenderness and yearning Teatro.org, 26 March 2012
The Countess Almaviva of Dorothea Röschmann, particularly effective in 'Dove sono', was greatly applauded Pierluigi Panza, Corriere della Sera, 24 March 2012
There were well deserved cheers for the Countess of Dorothea Röschmann Pierachille Dolfini, Avvenire, 25 March 2012
The cast was worthy of the great Milan tradition: the class of Dorothea Röschmann.. Enrico Girardi, Corriere della Sera, 27 March 2012

Don Giovanni

Salzburg Festival

Dorothea Röschmann ist eine in jeder Hinsicht überzeugende Donna Elvira Gert Korentschnig, Kurier, 19 August 2011
Auf der Suche nach der neuen, dramatischen, dennoch gut kontrollierten Stimme hat die Röschmann endlich ihr Ziel erreicht. Markus Thiel, Merkur Online, 19 August 2011
Währenddessen wird die Donna Elvira von Dorothea Röschmann zur zentralen tragischen Figur der Inszenierung, wenn sie mit ihrer reifen Stimme eine Rollenstudie von verzweifelter Dramatik bietet. Daniel Ender, Der Standard, 19 August 2011

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Recordings

Schumann and Berg

ROBERT SCHUMANN
Liederkreis
Frauenliebe und Leben

ALBAN BERG
Sieben frühe Lieder
Dorothea Röschmann · Mitsuko Uchida

Int. Release 02 Oct. 2015
Decca Classics

Verdi: Aida

Christina Gallardo-Domâs, Vincenzo La Scola, Olga Borodina
Thomas Hampson, Laszló Polgár

Vienna Philharmonic Orchestra/Nikolaus Harnoncourt
Teldec