| Robin Johannsen |
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| Reviews |
Die Entführung aus dem Serail (Oper Leipzig)
Blonde
“Robin Johannsen, as Blonde, brings to bear a playfulness and allure in her interpretation through her acting as well as
through her vital and sparkling voice.”
Leipzig Almanach; January 30, 2006
“Vocally more interesting...is Robin Johannsen as Blonde with her continuous laughter in the voice.”
Der Tagesspiegel; January 30, 2006
“The jubilant effortlessness and sensuousness of sound of Robin Johannsen as Blonde, however, glows above
everything.”
Sächsische Zeitung; January 30, 2006
Aus einem Totenhaus (Deutsche Oper Berlin)
Aljeja
“…Outstanding: Robin Johannsen...”
Maerkische Allgemeine Zeitung; February 21, 2005
“The director’s concept brought a sovereign ensemble to the stage:…Lenus Carlson’s noble baritone as Gorjantschikoff;
the young, clear soprano Robin Johannsen as Aljeja, the only role played by a woman.”
Frankfurter Allgemeine Zeitung; February 21, 2005
“The evening of German-sung opera offered solidly sung parts, above all from Robin Johannsen, Rene Kollo, Walter
Pauritsch und Lenus Carlson.”
ZDF Theaterkanal; February 20, 2005
Das Schloss (Deutsche Oper Berlin)
Amalia
“...and once again Robin Johannsen emphatically expressed herself in radiating, clear, innocent tones.”
Klassik.com; May 15, 2005
Tannhäuser (Bayreuther Festspiele)
Ein junger Hirt
“The sweet voiced shepherd (Robin Johannsen) freshly and plaintively sings ‘Frau Holda aus dem Berg hervor’.”
Musicweb-international.com “International Opera Festival Review,” August 18, 2007
“And then there is Robin Johannsen, who gave her debut in Bayreuth as the Shepherd boy, and whose soprano, clear and
appealing, works like a good deed in such an otherwise strained singing contest in Wartburg.”
Stuttgarter Zeitung, July 27, 2007
“With her pure and clear soprano voice, Robin Johannsen as the young Shepherd provides for a pleasant, unadulterated
listening pleasure.”
Online Musik Magazin, August 3, 2007
“The role of the Young Shepherd played by Robin Johannsen is gorgeous. Her song is small but sounds perfect. It is more
usual to hear the Shepherd sung “shrilly” and without any grace, but this sounded wonderful. It left us impressed with her
vocal interpretation and with its movement within the scene.”
Archivo Richard Wagner; August 20, 2005
"Also of the very purest is the Shepherd sung by Robin Johannsen."
Gli Amici della Musica Net; August, 2005
"With the Shepherd, Robin Johannsen rendered a top-rate performance."
Bayerischer-Musikrat; August 12, 2005
"Robin Johannsen performed the role of the Young Shepherd flawlessly."
Nordbayerischer Kurier; July 29,2005
“...the young shepherd’s voice (Robin Johannsen) gives a charming, lyrical introduction to the meadows of the Wartburg.”
The Stage Newspaper (UK); August 19, 2005
“Excellent, the tender creation of Robin Johannsen (the little shepherd), with a voice clean and clear.”
Clasica y Opera; September 23, 2004
“Robin Johannsen sang the young Shepherd with lasting effect.”
Offenbach-Post; August 6, 2004
“The soprano, Robin Johannsen, sings a silvery, rather than a vibrato-free young Shepherd.”
Wiesbadener Kurier; July 28, 2004
“In the solo department, the Bayreuth debutante Robin Johannsen, as the young Shepherd, gave a shining performance in
the soubrette fach.”
Idowa.de Media Service; July 28, 2003
“…A wonderful ensemble, all the way down to the jubilant Shepherd of Robin Johannsen, is masterfully cast."
Der Tagesspiegel; Berlin; July 28, 2003
“The ‘new’ young Shepherd, sung by Robin Johannsen, is a small bright spot in this production.”
Online Musik Magazin; June 2003
Siegfried (Bayreuther Festspiele)
Waldvogel
“…Robin Johannsen awards the Waldvogel her beautiful voice…”
Nordbayerischer Kurier; Bayreuth; August 8, 2004
“Here, the excellent off-stage song of Robin Johannsen is matched with a silent, miming female figure clad in athletic
costume.”
The British Theatre Guide; August 4, 2004
“As the Waldvogel, Robin Johannsen’s voice comes freely from off-stage; however, having the soprano onstage would
have been an attractive enrichment for the scene.”
Frankfurter Neue Presse; August 3, 2004
“Robin Johannsen sings the Waldvogel with a clear, light soprano.”
Nordbayerischer Kurier; August 2, 2004
Concert of Young Artists (Deutsche Oper Berlin Foyer)
“Robin Johannsen’s soprano possesses an easy top, which she initiates with almost dream-like security. The voice
sounds delicious in the Lakmé duet, and she shows much acting potential in her Blonde.”
Orpheus International Opera Magazin; June, 2004
Dr. Ox v5.1 (Deutsche Oper Berlin performed at the Carrousel-Theater, Berlin)
Das Mädchen
“Robin Johannsen, as ‘Das Mädchen,’ was vocally as well as visually the best cast. She could have sprung directly out of
the teenage audience.”
Dresdner Neueste Nachrichten; October 2, 2003
“ ‘Das Mädchen,’ the only believable one, Robin Johannsen…”
RBB Radiokultur; Berlin; October 26, 2003
Dialogues des Carmélites (Deutsche Oper Berlin)
Soeur Constance
“Robin Johannsen, despite having the smaller role: outstanding.”
AVIVA-BERLIN; June 16, 2004
Chamber Music Series Foyer Concert (Deutsche Oper Berlin Foyer)
“The unconditional commitment, the great demands, were dared on this evening only by soprano Robin Johannsen and
clarinetist Reinhard Schönemann with the wonderfully clear and intensively-shaped lines of Harrison Birtwistle’s ‘Ring a
Dumb Carillon.’ ”
Der Tagesspiegel; Berlin; June 4, 2003
“The voices fuse to a new, very poetic, and in the high range clear and focused colors of sound…it was simply remarkable,
how the three artists (soprano Robin Johannsen, clarinetist Reinhard Schönemann , and percussionist, Björn
Matthiesen,) in what was, by far, the most difficult piece of the evening, communicated with one another and disentangled
the complex rhythmically interwoven music, making it comprehensible for the listener.”
RBB Radio 3; Berlin; June 3, 2003
Mendelssohn’s Sommernachtstraum (Rundfunk-Sinfonieorchester Berlin)
“The women’s radio chorus and the two soloists, the outstanding soprano, Robin Johannsen, and her elfin sister, Ulrike
Helzel sing this work with much grace.”
Berliner Morgenpost; June 10, 2004
Così Fan Tutte (Hat City Music Theater)
Despina
“Robin Johannsen’s performance as the maid Despina proved to be just what was needed for this worldly wise character,
who doesn’t mind teaching her mistresses a thing or two about men. She was pert, perky, and sang with a clear soprano
voice with every word understandable.”
News-Times; Danbury, CT; February 21, 2003
Blonde
“Robin Johannsen, as Blonde, brings to bear a playfulness and allure in her interpretation through her acting as well as
through her vital and sparkling voice.”
Leipzig Almanach; January 30, 2006
“Vocally more interesting...is Robin Johannsen as Blonde with her continuous laughter in the voice.”
Der Tagesspiegel; January 30, 2006
“The jubilant effortlessness and sensuousness of sound of Robin Johannsen as Blonde, however, glows above
everything.”
Sächsische Zeitung; January 30, 2006
Aus einem Totenhaus (Deutsche Oper Berlin)
Aljeja
“…Outstanding: Robin Johannsen...”
Maerkische Allgemeine Zeitung; February 21, 2005
“The director’s concept brought a sovereign ensemble to the stage:…Lenus Carlson’s noble baritone as Gorjantschikoff;
the young, clear soprano Robin Johannsen as Aljeja, the only role played by a woman.”
Frankfurter Allgemeine Zeitung; February 21, 2005
“The evening of German-sung opera offered solidly sung parts, above all from Robin Johannsen, Rene Kollo, Walter
Pauritsch und Lenus Carlson.”
ZDF Theaterkanal; February 20, 2005
Das Schloss (Deutsche Oper Berlin)
Amalia
“...and once again Robin Johannsen emphatically expressed herself in radiating, clear, innocent tones.”
Klassik.com; May 15, 2005
Tannhäuser (Bayreuther Festspiele)
Ein junger Hirt
“The sweet voiced shepherd (Robin Johannsen) freshly and plaintively sings ‘Frau Holda aus dem Berg hervor’.”
Musicweb-international.com “International Opera Festival Review,” August 18, 2007
“And then there is Robin Johannsen, who gave her debut in Bayreuth as the Shepherd boy, and whose soprano, clear and
appealing, works like a good deed in such an otherwise strained singing contest in Wartburg.”
Stuttgarter Zeitung, July 27, 2007
“With her pure and clear soprano voice, Robin Johannsen as the young Shepherd provides for a pleasant, unadulterated
listening pleasure.”
Online Musik Magazin, August 3, 2007
“The role of the Young Shepherd played by Robin Johannsen is gorgeous. Her song is small but sounds perfect. It is more
usual to hear the Shepherd sung “shrilly” and without any grace, but this sounded wonderful. It left us impressed with her
vocal interpretation and with its movement within the scene.”
Archivo Richard Wagner; August 20, 2005
"Also of the very purest is the Shepherd sung by Robin Johannsen."
Gli Amici della Musica Net; August, 2005
"With the Shepherd, Robin Johannsen rendered a top-rate performance."
Bayerischer-Musikrat; August 12, 2005
"Robin Johannsen performed the role of the Young Shepherd flawlessly."
Nordbayerischer Kurier; July 29,2005
“...the young shepherd’s voice (Robin Johannsen) gives a charming, lyrical introduction to the meadows of the Wartburg.”
The Stage Newspaper (UK); August 19, 2005
“Excellent, the tender creation of Robin Johannsen (the little shepherd), with a voice clean and clear.”
Clasica y Opera; September 23, 2004
“Robin Johannsen sang the young Shepherd with lasting effect.”
Offenbach-Post; August 6, 2004
“The soprano, Robin Johannsen, sings a silvery, rather than a vibrato-free young Shepherd.”
Wiesbadener Kurier; July 28, 2004
“In the solo department, the Bayreuth debutante Robin Johannsen, as the young Shepherd, gave a shining performance in
the soubrette fach.”
Idowa.de Media Service; July 28, 2003
“…A wonderful ensemble, all the way down to the jubilant Shepherd of Robin Johannsen, is masterfully cast."
Der Tagesspiegel; Berlin; July 28, 2003
“The ‘new’ young Shepherd, sung by Robin Johannsen, is a small bright spot in this production.”
Online Musik Magazin; June 2003
Siegfried (Bayreuther Festspiele)
Waldvogel
“…Robin Johannsen awards the Waldvogel her beautiful voice…”
Nordbayerischer Kurier; Bayreuth; August 8, 2004
“Here, the excellent off-stage song of Robin Johannsen is matched with a silent, miming female figure clad in athletic
costume.”
The British Theatre Guide; August 4, 2004
“As the Waldvogel, Robin Johannsen’s voice comes freely from off-stage; however, having the soprano onstage would
have been an attractive enrichment for the scene.”
Frankfurter Neue Presse; August 3, 2004
“Robin Johannsen sings the Waldvogel with a clear, light soprano.”
Nordbayerischer Kurier; August 2, 2004
Concert of Young Artists (Deutsche Oper Berlin Foyer)
“Robin Johannsen’s soprano possesses an easy top, which she initiates with almost dream-like security. The voice
sounds delicious in the Lakmé duet, and she shows much acting potential in her Blonde.”
Orpheus International Opera Magazin; June, 2004
Dr. Ox v5.1 (Deutsche Oper Berlin performed at the Carrousel-Theater, Berlin)
Das Mädchen
“Robin Johannsen, as ‘Das Mädchen,’ was vocally as well as visually the best cast. She could have sprung directly out of
the teenage audience.”
Dresdner Neueste Nachrichten; October 2, 2003
“ ‘Das Mädchen,’ the only believable one, Robin Johannsen…”
RBB Radiokultur; Berlin; October 26, 2003
Dialogues des Carmélites (Deutsche Oper Berlin)
Soeur Constance
“Robin Johannsen, despite having the smaller role: outstanding.”
AVIVA-BERLIN; June 16, 2004
Chamber Music Series Foyer Concert (Deutsche Oper Berlin Foyer)
“The unconditional commitment, the great demands, were dared on this evening only by soprano Robin Johannsen and
clarinetist Reinhard Schönemann with the wonderfully clear and intensively-shaped lines of Harrison Birtwistle’s ‘Ring a
Dumb Carillon.’ ”
Der Tagesspiegel; Berlin; June 4, 2003
“The voices fuse to a new, very poetic, and in the high range clear and focused colors of sound…it was simply remarkable,
how the three artists (soprano Robin Johannsen, clarinetist Reinhard Schönemann , and percussionist, Björn
Matthiesen,) in what was, by far, the most difficult piece of the evening, communicated with one another and disentangled
the complex rhythmically interwoven music, making it comprehensible for the listener.”
RBB Radio 3; Berlin; June 3, 2003
Mendelssohn’s Sommernachtstraum (Rundfunk-Sinfonieorchester Berlin)
“The women’s radio chorus and the two soloists, the outstanding soprano, Robin Johannsen, and her elfin sister, Ulrike
Helzel sing this work with much grace.”
Berliner Morgenpost; June 10, 2004
Così Fan Tutte (Hat City Music Theater)
Despina
“Robin Johannsen’s performance as the maid Despina proved to be just what was needed for this worldly wise character,
who doesn’t mind teaching her mistresses a thing or two about men. She was pert, perky, and sang with a clear soprano
voice with every word understandable.”
News-Times; Danbury, CT; February 21, 2003
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Festival Matinee (Bayreuth – Steingraeber & Söhne)
"The soprano Robin Johannsen inspires with a multi-faceted repertoire in the Rokokosaal of Steingraeber’s… Astounding
thereby, along with the metamorphosing capabilities of her clear and pliant soprano, is above all the plasticity with which
she is vocally able to indicate characters. Whether exaggerated howling misery (Cunegonde) or heart-wrenching despair
(Constanze) – Johannsen is smoothly able to vocally awaken characters to life.”
Nordbayerischer Kurier; August 2, 2006
"The soprano Robin Johannsen inspires with a multi-faceted repertoire in the Rokokosaal of Steingraeber’s… Astounding
thereby, along with the metamorphosing capabilities of her clear and pliant soprano, is above all the plasticity with which
she is vocally able to indicate characters. Whether exaggerated howling misery (Cunegonde) or heart-wrenching despair
(Constanze) – Johannsen is smoothly able to vocally awaken characters to life.”
Nordbayerischer Kurier; August 2, 2006
New Year's Concert 2008 - Nikolaisaal, Potsdam
"...No less involved in the success of the evening was opera diva Robin
Johannsen from the USA. Since her scholarship in 2002-2003 at the Deutsche
Oper Berlin, she counts as one of the sought after opera stars in Germany and is
even a regular guest at the Bayreuth Festival. Her voluminous, unerring soprano
made the "Cavatina of Rosina" (Rossini - Barbiere), the virtuosic aria of Linda
(Gaetano Donizetti), the mad Shadow aria of Dinorah (Giacomo Meyerbeer) or
the “Fruehlingsstimmen-Walzer” of Johann Strauss, the Son, into a singing
experience. Sure in all coloratura, with widely faceted dynamic presentation and
simply likeable, she advanced, moment by moment to the public's favorite."
Maerkische Allgemeine Zeitung; January 3, 2008
Die lustige Witwe (Oper Leipzig)
Valencienne
"Then the first bright spots: Robin Johannsen and Tomasz Zagorski as
Valencienne and Camille. She offers silvery refinement… In the Pavilion and by
the blooming rosebuds, there were very happy sounds."
Klassik.com; December 12, 2006
"...No less involved in the success of the evening was opera diva Robin
Johannsen from the USA. Since her scholarship in 2002-2003 at the Deutsche
Oper Berlin, she counts as one of the sought after opera stars in Germany and is
even a regular guest at the Bayreuth Festival. Her voluminous, unerring soprano
made the "Cavatina of Rosina" (Rossini - Barbiere), the virtuosic aria of Linda
(Gaetano Donizetti), the mad Shadow aria of Dinorah (Giacomo Meyerbeer) or
the “Fruehlingsstimmen-Walzer” of Johann Strauss, the Son, into a singing
experience. Sure in all coloratura, with widely faceted dynamic presentation and
simply likeable, she advanced, moment by moment to the public's favorite."
Maerkische Allgemeine Zeitung; January 3, 2008
Die lustige Witwe (Oper Leipzig)
Valencienne
"Then the first bright spots: Robin Johannsen and Tomasz Zagorski as
Valencienne and Camille. She offers silvery refinement… In the Pavilion and by
the blooming rosebuds, there were very happy sounds."
Klassik.com; December 12, 2006