Dorothea Röschmann

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Soprano
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News

  • 18 March 2024

    Bayerische Staatsoper 2024/25 season to feature 23 Askonas Holt artists

    Read full article
  • 25 August 2021

    Dorothea Roschmann makes role debut as Ariadne at Edinburgh International Festival

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Press

  • Recital Dorothea Röschmann & Malcolm Martineau

    Wigmore Hall, London
    Dec 2023

    • what a thrilling sound it was. You could feel the weight in the German words, ... even when her tone was rapt and hushed, as it was in Brahms’s setting of a wonderful Heine poem comparing death to cool night and life to sultry day.

  • Le Nozze de Figaro (Marcellina)

    Bayerische Staatsoper
    Oct 2023 - Oct 2023

    • Dorothea Röschmann als Wonneproppen Marcellina, die mit ihrem mütterlichen Charisma und pompösen Outfits sofort zum Mittelpunkt der Riesenbühne wurde. Dorothea Röschmann as the bundle of joy Marcellina, who immediately became the center of the giant stage with her motherly charisma and pompous outfits.

    • Dorothea Röschmann [was] a delight.

  • Le nozze di Figaro (Marcellina)

    Royal Opera House
    Jul 2023

  • Tristan und Isolde (Isolde)

    Opéra National de Lorraine
    Jan 2023

    • Fraglos an der Spitze steht Dorothea Röschmann als Isolde. War die Norddeutsche über Jahrzehnte eine der führenden Mozart-Ssängerinnen, feiert sie mit diesem Fachwechsel einen Triumph. Ihre Isolde hat einerseits den mädchenhaften Glanz und die berückend schönen Töne einer Lyrischen, andererseits nunmehr das satte, aber nie überstrapazierte mittlere und tiefe Register der Bruststimme. Da denkt man etwa an die Aufnahme mit Margret Price unter Carlos Kleiber zurück. Dorothea Roschmann as Isolde is undoubtedly at the top . The North German was one of the leading Mozartians , but she is triumphant in this change of Fach. Her Isolde, on the one hand, has the girlish shine and the bewitchingly beautiful tones of a lyric, and on the other hand, the rich, but never overused middle and low register of the chest voice.One is reminded of Margaret Price under Carlos Kleiber.

    • Aus gesehen machte vor allem die erste Isolde von Dorothea Röschmann neugierig. Und tatsächlich: die exzellente Mozart-Interpretin bei diesem spektakulären Fach-Wechsel zu erleben, lohnt die Reise nach Lothringen! Was Röschmann hier bietet, ist ein Schulbeispiel für wortverständlichen Wagnergesang, inklusive der orchesterumtosten hochdramatischen Ausbrüche. Man hört und staunt. Wobei sich ein Besuch für junge Sängerinnen empfiehlt, denn streckenweise liefert Röschmann auch eine optisch nachvollziehbare Lehrstunde darin, wie man Töne ansteuert, stützt, sie abfeuert und dabei keinen einzigen Konsonanten oder Vokal verschlampert. Dabei ist ihr mozartgeschultes Timbre ein besonderer Genuss. Dorothea Röschmann's first Isolde aroused curiosity. To experience the excellent Mozart interpreter in this spectacular change makes the trip to Lorraine worthwhile! What Röschmann offers here is a classic example of word-for-word Wagnerian singing, including the highly dramatic outbursts roaring with the orchestra. You hear and marvel. A visit is recommended for young singers, because Röschmann also provides a visually comprehensible lesson in how to control tones, support them, fire them and not squander a single consonant or vowel. Her Mozart-trained timbre is a special treat.

    • Dorothea Röschmann, mozartienne en pleine reconversion comme elle nous l’expliquait, réussit en grande partie le défi d’Isolde. Le volume et la projection sont suffisants pour une salle et une fosse comme celle de l’Opéra national de Lorraine. Certes, le haut de la tessiture se tend rapidement et les deux uts de la partition s’avèrent hors de portée, marqués au mieux, criés au pire. Mais l’incarnation et le portrait trouvent dans la ligne, la diction et la rondeur du medium tout ce qu’il faut. Les récits et imprécations du premier acte résonnent déjà avec la maturité d’une habituée du rôle, le duo du deuxième, dès lors qu’il s’apaise, lui permet de déployer toute l’onctuosité savamment acquise chez Mozart. La diseuse se charge du reste et si son retour au troisième manque d’endurance et de souplesse, elle sait se couler dans ces raucités pour toucher au plus juste. Dorothea Röschmann, a Mozartian in full re-invention as she explained to us, succeeded in the challenging role of Isolde. The volume and the projection are sufficient for a room and a pit like that of the Opéra national de Lorraine. … the incarnation and the characterisation find everything they need in the line, the diction and the roundness of the medium. The stories and imprecations of the first act already resonate with the maturity of one experiences in the role, the duet of the second, as soon as it calms down, allows her to deploy all the smoothness skilfully acquired in Mozart.

  • Ariadne auf Naxos (Ariadne)

    Teatro Comunale di Bologna
    Mar 2022

    • Dorotea Röschmann (nei panni della Prima donna/Arianna) è perfetta interprete della diva d’altri tempi, sia per portamento e naturale inclinazione, sia per la sua vocalità spiegata. Dorothea Röschmann (who played the role of Ariadne) is the perfect interpretor of the diva of yesteryear, both for her posture and natural inclination and in her vocailty.

  • Le Nozze di Figaro (Marcellina)

    Opera National de Paris
    Jan 2022

    • German soprano Dorothea Röschmann was a true gift in the supporting role of Marcellina. She has sung as both Susanna and the Countess throughout her career and is consequently no stranger to this opera. Her fourth act aria was cut, as it often is, so her role was limited to short interventions and ensemble numbers, but Röschmann was still able to showcase her potent lyric sound and strong stage presence in these moments.

    • Dorothea Röschmann was a delightful Marcellina, sparring with Susanna and pleading her case to the Count with rapt conviction, but plausibly sympathetic in the second half.

  • Ariadne auf Naxos (Ariadne)

    Edinburgh International Festival
    Aug 2021

    • The headline name on the bill was that of German soprano Dorothea Röschmann, who was absolutely magnificent.

    • Internationally renowned German soprano Dorothea Röschmann gives an impeccable performance as Greek mythological princess Ariadne.

    • Röschmann’s first Ariadne was a triumph, her Prima Donna role in the Prologue giving little away as she emerged in the main opera as her full character with rusty coloured scarf in tow, her commanding voice, dramatic focus and sighing cellos setting the solemn tone.

    • Following the agreement reached in the Prologue, the opera begins with a captivating Röschmann emerging onto the stage as Ariadne, solemn in tone and demeanour … Röschmann’s first entrance as Ariadne is in total , deep contrast to the prologue - a tortured and depressed figure. Her voice fills the airy venue, a masterclass in restrained power.

  • Recital Dorothea Röschmann & Magnus Svensson

    Athénée Théâtre Louis-Jouvet
    Jun 2021

    • [Röschmann] soars with each new emotion... Her voice is rich in character, on all the tessitura and all the nuances, from eloquence to prayer. The bass is deep, chestnut when necessary, the medium supple and solid, the treble radiating or a very unfolded lyricism... The perky outbursts of joy thus fall all the more into sad nostalgia.

  • Mahler Des Knaben Wunderhorn

    Barcelona Auditorium
    Apr 2021

    • Dorothea Röschmann was wonderful in all her interventions, perfectly drawing the states of mind that she was in charge of, both as the mother of the dead child, as the lover in the face of loss or as a loquacious narrator. Her highs, her phrasing, her dramatic focus, everything about her is pure emotion.

    • Dorothea Röschmann, in a state of grace, overcame not only the orchestral texture imposed by Gardolinska but also the acoustic difficulties of a hall ungrateful for voices. The Röschmann instrument has evolved and has grown considerably in recent years without losing quality and always maintaining the elegance and expressiveness of its phrasing. From " Das irdische Leben" she was plentiful, perfectly coordinated with Gardolinska's baton, and her performance went in permanent crescendo to a moving " Wo die schönen Trompeten blasen".

    • Röschmann showed undeniable tables and musicality throughout all his [Ian Bostridge] interventions. The German soprano, with great clarity in the broadcast, raised her Mahler with a great expressive load, which is what these texts require, in which both the onomatopoeias of the cuckoo, the nightingale and the donkey in the Praise of Intelligence and the demand in the treble in the love struggle of the lied Useless effort overcame the acoustic problems posed by the room.