ChristinaGansch

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Soprano
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  • 30 April 2024

    Royal Opera 2024/25 season to feature 22 Askonas Holt artists

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Press

  • The Greek Passion (Lenio)

    Salzburger Festspiele
    Aug 2023 - Aug 2023

    • Christina Gansch brought a beautiful, silvery bright voice to Lenio.

    • Christina Gansch mit lieblich und rein. Christina Gansch sounds sweet and pure.

    • Christina Gansch da una excelente interpretación de Lenio. Christina Gansch gives an excellent performance as Lenio.

    • Christina Gansch eine anrührende Lenio mit schimmerndem Sopran. Christina Gansch plays a touching Lenio with a shimmering soprano.

      • Taz
      • 14 August 2023

    • Christina Gansch als Lenio begeistert das Publikum. Christina Gansch as Lenio delights the audience.

  • Don Giovanni (Zerlina)

    Royal Opera House, Covent Garden
    Sep 2022

    • As Zerlina, Christina Gansch is a delight, allying a vibrant tone with technique and musicality to match.

    • Austrian soprano Christina Gansch displayed a lovely clarity of tone as the peasant bride Zerlina

    • Christina Gansch is a beautifully sung Zerlina who also gets the character down to a tee

  • Don Giovanni (Zerlina)

    Opéra National de Paris
    Feb 2022

    • Christina Gansch campe la Zerline idéale, faussement candide et tendrement joueuse, et son timbre léger sait se parer de couleurs profondes pour donner la réplique à Masetto. Christina Gansch portrays the ideal Zerlina, she is deceptively candid and tenderly playful in her characterisation, and the light tones of her voice adorn the deeper colours of the reply she gives to Masetto.

    • Christina Gansch remplace Anna El-Khashem en Zerlina et [….] la voix gagne en harmoniques et en aisance dans un « Batti batti, o bel Masetto » joliment tourné. Christina Gansch replaces Anna El-Khashem as Zerlina [….] she blossoms and fills the room with her harmonics and ease in beautiful tones, particularly shown in her rendition of “Batti, batti, o bel Masetto”.

  • Die Zauberflöte (Pamina)

    Opéra National de Lorraine
    Dec 2021

    • Christina Gansch nous vaut une belle Pamina : la pureté diaphane des aigus, la noblesse de ton, un legato moelleux, donnent à chacune de ses interventions une couleur bienvenue. La soprano autrichienne, mozartienne accomplie, est une des perles de cette production. Christina Gansch is a beautiful Pamina: the diaphanous purity of her high notes, the nobility of her tone, and her soft legato give each of her interventions a welcome colour. The Austrian soprano, an accomplished Mozartian, is one of the gems of this production.

    • Force est de reconnaitre que Christina Gansch et Michael Nagl, tous deux de nationalité autrichienne, dominent la distribution de cette Flûte enchantée et délivrent chacun une belle leçon de chant mozartien. Dans le rôle de Pamina qu’on croirait composé pour elle, Christina Gansch peut faire valoir un timbre rond, des aigus arachnéens et des sons filés de toute beauté. It must be said that Christina Gansch and Michael Nagl, both Austrian nationals, dominate the cast of this Magic Flute and each deliver a fine lesson in Mozart's singing. In the role of Pamina, which seems to have been composed for her, Christina Gansch has a round timbre, spidery high notes and beautiful spun sounds. Au deuxième acte, son aria "Ach, ich fühl’s" est un moment de grâce absolu qui touche directement au cœur. In the second act, her aria "Ach, ich fühl's" is a moment of absolute grace that touches the heart.

  • La clemenza di Tito (Servilia)

    Royal Opera House, Covent Garden
    May 2021

    • Christina Gansch makes more of Servilia than just a sweet foil to Vitellia; Jones rightly notes that she’s courageous, fearless, and that gives us a characterisation to match the rest.

  • Mahler, Schubert & Glanert

    Royal Albert Hall
    Aug 2019

    • The wonderful Christina Gansch sang with an easy command, her intervals exceptionally pure and clean, her sense of line impeccable.

    • The bright, silvery tones of the Austrian soprano Christina Gansch and her excellent diction – characteristics which made her an ideal soloist in Mahler’s Fourth Symphony – allowed the vocal line to glitter and sparkle, not least when she sang of masked balls, magnificent palaces and noisy celebrations.

  • Orlando (Dorinda)

    San Francisco Opera
    Jun 2019

    • Christina Gansch, as Dorinda, ran the gamut of emotion, from “down-to-earth nurse,” gathering and carrying off hospital sheets; to heart-sick lover of Medoro; ambiguous/ambivalent friend to Angelica, her rival; and stalwart professional comrade to Zoroastro. Her voice soared and resonated with abundance. Ardent, energetic, full, and fevered, the rich tones moved the text to heart and back. She held the stage. We remained interested in what she was enduring as the narrative took to tormenting her. We cared about her fate, as she cared about Medoro, even though he wasn’t to be hers. Act II when desk duty kept her in the frame of the window, the “Nachtigall” aria, emphasized melancholic longing and excellent control of volume. She never let up.

    • Christina Gansch made a brilliant United States debut as Dorinda. Effortless coloratura, silvery sound, and contagious energy meant she lit up the stage whenever she appeared. In “Amore è qual vento,” her Act 3 aria about the dangers of love, her comedic register shifts had the audience in stitches.

    • The real surprise, though – and a truly glorious one – was the U.S. opera debut of Austrian soprano Christina Gansch as Dorinda. Christina Gansch has a bright voice with a lilt to it. The highlight of the whole show may well have been Christina Gansch’s performance of Dorinda’s Act III aria “Love makes the head spin.” The audience certainly appreciated her singing, and they gave her the longest and most enthusiastic applause of the opera for this aria.

    • In her American operatic debut, Austrian soprano Christina Gansch as Dorinda (a shepherdess in the libretto, a nurse in this production) steals every scene she’s in with her perky delivery of recitatives and natural flair for comedy. A light coloratura-soprano with clear, bright high notes, Ms. Gansch beguiled the audience with her nightingale imitation in “Quando spieghi tuoi tormenti" and brought down the house with a hilariously campy "Amore è qual vento" in Act 3, in which Dorinda, confused by love, throws a small tantrum with rapid burst of coloratura.

  • Szenen aus Goethes Faust (Gretchen)

    Staatsoper Hamburg, Hamburg
    Oct 2018

    • Auch Christina Gansch (Gretchen, Not, Seliger Knabe, Una Poenitentium) hat eine große Stimme. Mit ihrem warmen Timbre und ihren diversen Klangfarben bringt sie Verliebtheit, Schmerz und Verzweiflung so authentisch rüber, dass man ihr jede Rolle abnehmen könnte. Trotz ihrer zarten Person hat sie eine ungeheure emotionale Wucht. An enchanting timbre, a sparkling radiance and a great sense of well-being displayed by the wonderful soprano Christina Gansch as Gretchen. This singer already has vocal maturity in her voice at the age of 28, which other singers pursue for many years. Christina Gansch owns the future - we will hear much more beauty from her. World class.

  • Pelléas et Mélisande (Mélisande)

    Glyndebourne Festival Opera at the BBC Proms
    Jul 2018

    • The central trio was strongly cast; Christina Gansch was vocally captivating as Mélisande; she has a soft, lilting soprano of that moonlit quality that is ideally suited to the role, with depth of tone and a whimsical quality to it that gave real character to her interpretation. Although hindered at times by direction, she gave a strong ritualistic performance, giving the impression on several occasions that she had almost relinquished control of herself by her movements and gestures. Quite beguiling indeed.

    • ...nothing but praise for Christina Gansch’s Mélisande. She illuminates her seemingly contradictory attributes of being both manipulative and naïve with silvery tones flashed through with occasional steel.