Soprano

Dorothea Röschmann

Introduction

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.


Contact



Performance Schedule

  • 19:00 13 Oct 2018 Deutsche Staatsoper Berlin, BERLIN More info  

    WOLFGANG AMADEUS MOZART Le nozze di Figaro

    Conductor: Alessandro De Marchi
    Director: Jürgen Flimm
    Count Almaviva: Ildebrando D’Arcangelo
    Countess: Dorothea Röschmann
    Susana: Anna Prohaska
    Figaro: Lauri Vasar
    Cherubino: Emily D’Angelo
    Marcellina: Katharina Kammerloher
    Don Curzio: Peter Maus
    Basilio: Linard Vrielink
    Antonio: Olaf Bär
    Barbarina: Sónia Grané
    Bartolo: Otto Katzameier

  • 19:00 18 Oct 2018 Deutsche Staatsoper Berlin, BERLIN More info  

    WOLFGANG AMADEUS MOZART Le nozze di Figaro

    Count Almaviva: Ildebrando D’Arcangelo
    Countess Almaviva: Dorothea Röschmann
    Susanna: Anna Prohaska
    Figaro: Lauri Vasar
    Marcellina: Katharina Kammerloher
    Don Curzio: Peter Maus
    Bartolo: Otto Katzameier
    Antonio: Olaf Bär
    Barberina: Sónia Grané

  • 18:00 21 Oct 2018 Deutsche Staatsoper Berlin, BERLIN More info  

    WOLFGANG AMADEUS MOZART Le nozze di Figaro

    Count Almaviva: Ildebrando D’Arcangelo
    Countess Almaviva: Dorothea Röschmann
    Susanna: Anna Prohaska
    Figaro: Lauri Vasar
    Marcellina: Katharina Kammerloher
    Don Curzio: Peter Maus
    Bartolo: Otto Katzameier
    Antonio: Olaf Bär
    Barberina: Sónia Grané

  • 19:00 26 Oct 2018 Deutsche Staatsoper Berlin, BERLIN More info  

    WOLFGANG AMADEUS MOZART Le nozze di Figaro

    Count Almaviva: Ildebrando D’Arcangelo
    Countess Almaviva: Dorothea Röschmann
    Susanna: Anna Prohaska
    Figaro: Lauri Vasar
    Marcellina: Katharina Kammerloher
    Don Curzio: Peter Maus
    Bartolo: Otto Katzameier
    Antonio: Olaf Bär
    Barberina: Sónia Grané

  • 19:00 07 Nov 2018 Frankfurt Opera, city TBC More info  

    Seid: Zeljko Lucic
    Medora: Dorothea Röschmann
    Gulnara: Roberta Mantegna
    Corrado: Mario Chang
    Giovanni: Brandon Cedel

From The Green Room

Discography

  • More info  
    VERDI 'Otello' (DVD)

    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

  • More info  
    Sony Mozart Arias

    Label: Sony Music Classical

    Release Date: 06 Nov 15

    Swedish Radio Symphony Orchestra

    Dorothea Röschmann and Daniel Harding

  • More info  
    Schumann and Berg

    Label: Decca Classics

    Release Date: 02 Oct 15

    Schumann: Liederkreis and Frauenliebe und Leben

    Berg: Sieben frühe Lieder

    Dorothea Röschmann and Mitsucko Uchida

  • More info  
    Portraits

    Label: Sony Music Classical

    Release Date: 17 Nov 14

    Röschmann sings Schubert, Schumann, Strauss and Wolf

    Dorothea Röschmann and Malcom Martineau

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    Bach: Christmas Oratorio

    Label: Harmonia Mundi

    Release Date: 10 Jun 14

    Akademie fur Alte Musik Berlin

    Dorothea Röschmann, Werner Gura, Andreas Scholl and René Jacobs

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    HANDEL Famous Arias

    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

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    BACH Dialogue Cantatas

    Label: Deutsche Grammophone

    Release Date: 15 Oct 07

    Berliner Barock Solisten

    Thomas Quasthoff, Dorothea Röschmann and Rainer Kussmaul

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    BACH St. Matthew Passion

    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

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    BRAHMS Ein Deutsches Requiem

    Label: EMI Classics

    Release Date: 05 Mar 07

    Berliner Philharmoniker

    Dorothea Röschmann, Thomas Quasthoff and Simon Rattle

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    HANDEL Giustino

    Label: Harmonia Mundi

    Release Date: 09 Nov 05

    Freiburger Barockorchester
    Kammerchor
    Cantatus Halle

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

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    BACH Secular Cantatas

    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

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    BACH Cantatas Vol. 8

    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

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    HANDEL Messiah

    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

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    05 Jun 18 Schubert Fierrabras
    Teatro alla Scala, Milan

    “As at the Salzburg premiere, soprano Dorothea Röschmann was Florinda. For my taste, she was the best singer in the cast, expressive and with an appealing voice.”

    José M. Irurzun, Seen and Heard International, 20 June 2018

    “Dorothea Röschmann…ha mantenuto inalterate la robustezza… l’interpretazione è di assoluta incisività, tesa come un arco di violino nei non rari momenti di tensione emotiva ma capace di essere carezzevole e dolcissima nel duetto con Maragond o in generale nelle parti più liriche. Il suo Melodram in cui descrive la battaglia in un climax espressivo emerge come il momento forse più emozionante della serata.”

    “Dorothea Röschmann… maintained an unfaltering strength of sound… her acting is decidedly powerful: taut as a violin bow during the many moments of emotional tension but also capable of being gentle and sweet in the duet with Maragond or during the more lyrical parts in general. Her Melodram, during which she describes the battle in an expressive climax, emerges as perhaps the most moving moment of the evening.”

    Giordano Cavagnino, GB Opera Magazine, 9 June 2018

    “Dorothea Röschmann… ha ancora gravi risonanti e centri che corrono con una certa scioltezza. L’interprete è espressiva, tanto nel dolcissimo duetto con Maragond quanto nella “aria di furia” … Nell’aria del terzo atto: “Des Jammes herbe Qualen” è delicata e tenera al contempo, immersa com’é nel rimpianto di una felicità tanto agognata”

    “Dorothea Roschmann… still has a resonant lower timbre and the middle range runs with a certain effortlessness. The acting is expressive, as much during the lovely, sweet duet with Maragond as in the “aria di furia”… During the aria of the third act: “Des Jammes herbe Qualen”, she is delicate and tender while at the same time overcome by regret for such a yearned-for happiness”

    Ugo Malasoma, Opera Click

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    23 Feb 18 Mahler Symphony No. 2
    Dallas Symphony Orchestra

    “German soprano Dorothea Roschmann’s voice rose magically from the general choral sound with soaring radiance”
    Wayne Lee Gay,Texas Classical, 2February 2018

     

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    08 Feb 18 U.S Spring Recital Tour, 2018 Schubert, Mahler, Schumann, Wagner
    USA

    “The haunting Mahler finale was carefully sung, provoking a far off vision, with Ms. Röschmann nailing a soaring high note that quietly broadened into a long pensive postlude. This was perhaps the recital’s highlight.”… “Röschmann’s operatic credentials immediately were on display in “Der Engel,” a stunning ray of vocal sunshine.”
    Terry McNeill, Classical Sonoma, 18 February 2018

    “From the first notes it was clear that Röschmann was in beautiful voice, retaining all of her silver purity in the higher register.”
    Pessimisissimo, Exotic and irrational entertainment, 19 February 2018 

    “Röschmann has exceptional control of her volume, varying between a light whisper and powerful vocals with ease. She enunciates carefully, sounding each consonant with her whole face, and is capable of trilling like a bird with her vibrato. She puts great feeling into her voice, especially in the tragic songs of Schumann’s Mary, Queen of Scots cycle.”
    Morgan Halvorsen, MD Theatre Guide, 11 8

    “Dorothea Röschmann is singer who creates an entire world within the confines of a few pages of music, she can smolder with dramatic intensity but expresses it within the natural limits of her voice.”
    Rick Perdian, Seen and Heard International,16 February 2018

    ” This was an evening of music-making of the highest order, for both soprano and pianist are masters of their art, and communicators sans pareil”
    Oberon, Oberons Grove, 14 February 2018

     

  • More info  
    12 Jan 18 Spring Recital Tour Schubert, Mahler, Schumann, Wagner
    Europe

    “Dorothea Röschmann ihre kräftige Stimme vor, die sie in eindrucksvollen Nuancen zu führen weiß.”
    “Dorothea Röschmann presented a powerful performance using her impressive nuances.”
    Markus Gründig, Kulturfreak, 24 January 2018

    “Les « Wesendonck Lieder » sont le couronnement de la soirée : le timbre est idéal, la longueur du souffle exemplaire, et l’incarnation des poèmes met en exergue l’humanité que déploie Wagner dans ce cycle. « Im Treibhaus » est un bonheur au piano, la chanteuse se faisant irréelle, somptueuse dans « Schmerzen » et offre un « Träume » superlatif.”

    “The “Wesendonck Lieder” was the culmination of the evening: her timbre is ideal, the length of the breath is exemplary, and the incarnation of the poems highlights the humanity that Wagner deploys in this cycle. “Im Treibhaus” is a joy on the piano and the singer is unreal, sumptuous in “Schmerzen” and offers a superlative “Träume”.”
    Thomas Muller, Back Track, 14 January 2018

    “El canto de Röschmann es escrupuloso, minucioso y comprometido, un canto honesto, poderoso y bien administrado.”

    “Röschmann’s singing is scrupulous, thorough and committed, an honest, powerful and well-managed song.”
    Mundoclasico, 5 December 2017

    “Roschmann really lived these songs, and served them in a careful sequence so that the emotional rollercoast of the recital was unmissable, even for those unfamiliar with the language of Goethe”…” In the Mahler Ruckert-Lieder that followed – a distinctly different dramatic approach seemingly agreed in their minute off-stage – the poise in his playing, and in the transition between songs, was the perfect accompaniment to her incredible instrument and her remarkable fluctuation in dynamics between syllables of the same word.”…” With each successive group of songs, the sophistication of the relationship between singer and accompanist seemed further enhanced.”
    ★★★★★ Keith Bruce, Herald Scotland, 17 January 2018

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    07 Jan 18 Mozart Don Giovanni
    Staatsoper Berlin

    “Dorothea Röschmann’s characterisation as Donna Elvira is irresistible. Her state, very much as a woman on the edge of a nervous breakdown, is cleverly underlined throughout… Her Donna Elvira reflects the production itself brilliantly.”
    Hugo Shirley, Fatal Conclusions, 16 January 2018

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    10 Nov 17 Mahler Symphony No. 2
    Philharmonie de Paris

    “Dorothea Röschmann lui offre une réplique lumineuse. Malgré le peu d’interventions véritablement solistes confiées par Mahler, elle parvient à séduire son auditoire, au moyen d’une projection puissante mais souple et d’une véritable incarnation de l’idée chantée.”

    “Dorothea Röschmann offered a delicate performance, she managed to seduce her audience with a powerful yet flexible projection and a real incarnation of the sung (cantabile) idea.”

    Alexandre Jamar, Forum Opera, 10 November 2017

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    26 Oct 17 Berg Wozzeck Fragments
    Gasteig Munich

    “Röschmann intoniert rein und singt klar in der Linienführung.”

    “Röschmann intoned a pure and clear cantabile line.”

    Andreas Pernpeintner, Suddeutsche Zeitung, 27 October 2017

    “Für eine interessante neue Färbung sorgte allerdings Dorothea Röschmann, die mit ihrem an Mozart geschulten Sopran eine Marie fernab aller Rollenklischees gab.”

    “[Daniel Harding and] the soprano Dorothea Röschmann, who concealed her Mozartean voice, created a magificent spark in their collaboration.”

    Tobias Hell, Munchner Merkur, 28 October 2017

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    08 Jul 17 Verdi Otello
    Royal Opera House, Covent Garden

    “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

    “Desdemona is also powerfully portrayed by Dorothea Röschmann. Dressed in white to reflect her purity and innocence, her voice strongly reflects her character’s intense fear towards her impending tragedy, above all during the Willow Song, the Ave Maria, and her farewell to Emilia …”

    ★★★★★ Enza De Francisci, Plays To See, 17 July 2017

    His Desdemona on this occasion, Dorothea Röschmann, who sang the role under Christian Thielemann in Salzburg and Dresden, brough a more detailed and, in the final analysis, more touching response to the music …Her Willow Song and Ave Maria were both exquisite, among the most memorable I have heard at Covent Garden.”

    Hugh Canning, Opera Magazine, September 2017

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

    “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

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    31 Mar 17 Verdi Otello (DVD)
    Osterfestspiele Salzburg

    “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

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    11 Jul 16 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, 12 July 2016 

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    30 May 16 Weber Der Freischütz
    Deutsche Staatsoper Berlin

    “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

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    15 Apr 16 Janáček Jenůfa
    Vienna State Opera

    “(…) 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 

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    01 Apr 16 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, 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, klassik.com, 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 

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    15 Jan 16 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 International, 15 January 2016 

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    09 Dec 15 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

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    17 Nov 15 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, 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 

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    07 Nov 15 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, 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 

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    12 Jun 15 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, 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

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    03 May 15 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 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 

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    22 Apr 15 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, 29 April 2015 

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    19 Apr 15 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, 21 April 2015 

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    12 Apr 15 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, 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 

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    18 Jan 15 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, 22 January 2015 

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