| Reviews |
 |  |  |  |  |  |  |  |
 |  |
Davidis pugna et victoria ~ Alessandro Scarlatti
CD - Hyperion Records
(Invernizzi, Johannsen, Oro, Akselberg, Abete; Academia Montis Regalis, De Marchi.)
“Antonio Abete, … is ideally cast - likewise the soprano Robin Johannsen, who sings the part of Jonathan with manly grace and
intimacy and lets his calls to war glow with the brilliance of a baroque trumpet.”
Carsten Niemann, Rondomagazin.de, May 29,2010
"American soprano Robin Johannsen's clean, limpid sound is perfectly suited to Baroque music. As Jonathan, she collaborates
beautifully with her two co-stars."
Drew Minter, Opera News Online, January 2010
"Johannsen’s is a crystal-clear soprano with a beautiful tone and as such is well matched to David, sung by soprano Roberta Invernizzi."
Ed Breen, Musical Criticism.com, October 14, 2009
"The oratorio, a learned dramatisation of the story of David and Goliath, is given a crisp performance by Academia Montis Regalis
...The opposing attitudes of the courageous Jonathan... and melancholic Saul... are sung sensitively by Robin Johannsen and Martin
Oro."
Gramophone Magazine, December 2009
Pittsburgh Symphony Orchestra
Messiah ~ Handel
"That quality [coloratura] was supplied in spades by soprano Robin Johannsen, who sang 'Rejoice greatly O Daughter of Zion' at an
astonishingly fast tempo and clear as a bell."
Mark Kanny, The Pittsburgh Tribune-Review, December 12, 2009
Oregon Bach Festival
Messiah ~ Handel
"Soprano Robin Johannsen sang “Rejoice greatly, O daughter of Zion” with ardency. Her voice was shimmering."
Tyler Kinnear, The Register Guard, July 14, 2009
Messiah ~ Sandström
"Soprano Robin Johannsen delivered “Behold, a Virgin Shall Conceive” and other arias with radiance and power."
Terry McQuilkin, The Register Guard, July 21, 2009
Die Entführung aus dem Serail (Lucerne Festival)
Konstanze
"From a homogeneous Mozart ensemble, the brightly shining, agile soprano of Robin Johannsen as Konstanze … stood out
beguilingly.
Urs Mattenberger, Neue Luzerner Zeitung, September 16, 2008
"The singers thank him with a beautiful ensemble performance from which Robin Johannsen as Konstanze, with slender intonation
and noble coloratura, stands out.“
Karl Gaulhofer, Die Presse, September 21, 2008
"Robin Johannsen as an expressive and wonderfully coloratura-secure Konstanze...“
Elisabeth Schwind, Südkurier, September 17, 2008
"In conclusion, by the majority appealing, the light-voiced singer ensemble offers, above all, the clearly- focused Robin Johannsen
as Konstanze.“
Oliver Schneider, Wiener Zeitung, September 15, 2008
"The expressive Robin Johannsen is...the most convincing singer of the evening.“
Susanne Benda, Stuttgarter Nachrichten, September 17, 2008
"When Konstanze sings the aria, 'Traurigkeit ward mir zum Lose' and her alter ego...dances, it is enough to make you weep... Robin
Johannsen as Konstanze, she is vocally the high point of the evening.“
Annelis Berger, DRS2 (Radio), September 15, 2008
"Robin Johannsen is an equally enchanting and burdened Konstanze.“
Florian Krenstetter, Die Kronen Zeitung, September 21, 2008
"In Robin Johannsen’s Konstanze, one heard the noble and gentle beauty in the voice as well.
Anna Kardos, Tages-Anzeiger, September 16, 2008
"The two women, Lini Gong from the Freiburg Theater (Blonde) and Robin Johannsen (Konstanze) are convincing with first-rate
articulation and – above all the latter- with brilliant coloratura.”
Alexander Dick, Badische Zeitung, September 16, 2008
Die Entführung aus dem Serail (Festspielhaus St. PÖlten)
Konstanze
“Musically the harmoniously assembled ensemble is to be praised. 'Prima inter pares' Robin Johannsen.”
Alexander Opatmy, Kurier (Austria), October 5, 2008
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
Siegfried (Bayreuther Festspiele)
Waldvogel
"...the vocal conclusion doesn’t look so rosy, apart from the exceptionally beautiful voice of the Forest Bird of Robin Johannsen.”
Fränkischer-Tag, August 2, 2008
"El bellísimo pájaro del bosque de Robin Johannsen se engarza en la tradición que llevó a Bayreuth para esta breve parte a las
mejores ligeras de cada época."
www.Wagnermanía.com, October 2007
"With Ring and magic shield he follows the Forest Bird (Robin Johannsen with gracefully lilting soprano)"
Offenbach Post Online, August 14, 2008
"Robin Johannsen gives a distinctive and dulcet- sounding Forest Bird...“
www.der-neue-merker.at, 2007
Tannhäuser (Bayreuther Festspiele)
Ein junger Hirt
"... and last but not least, the clear as a bell and therefore astoundingly understandable natural phenomenon Robin Johannsen as
the Young Shepherd.”
Kieler Nachrichten, July 28, 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 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
“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
"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
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
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
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
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
CD - Hyperion Records
(Invernizzi, Johannsen, Oro, Akselberg, Abete; Academia Montis Regalis, De Marchi.)
“Antonio Abete, … is ideally cast - likewise the soprano Robin Johannsen, who sings the part of Jonathan with manly grace and
intimacy and lets his calls to war glow with the brilliance of a baroque trumpet.”
Carsten Niemann, Rondomagazin.de, May 29,2010
"American soprano Robin Johannsen's clean, limpid sound is perfectly suited to Baroque music. As Jonathan, she collaborates
beautifully with her two co-stars."
Drew Minter, Opera News Online, January 2010
"Johannsen’s is a crystal-clear soprano with a beautiful tone and as such is well matched to David, sung by soprano Roberta Invernizzi."
Ed Breen, Musical Criticism.com, October 14, 2009
"The oratorio, a learned dramatisation of the story of David and Goliath, is given a crisp performance by Academia Montis Regalis
...The opposing attitudes of the courageous Jonathan... and melancholic Saul... are sung sensitively by Robin Johannsen and Martin
Oro."
Gramophone Magazine, December 2009
Pittsburgh Symphony Orchestra
Messiah ~ Handel
"That quality [coloratura] was supplied in spades by soprano Robin Johannsen, who sang 'Rejoice greatly O Daughter of Zion' at an
astonishingly fast tempo and clear as a bell."
Mark Kanny, The Pittsburgh Tribune-Review, December 12, 2009
Oregon Bach Festival
Messiah ~ Handel
"Soprano Robin Johannsen sang “Rejoice greatly, O daughter of Zion” with ardency. Her voice was shimmering."
Tyler Kinnear, The Register Guard, July 14, 2009
Messiah ~ Sandström
"Soprano Robin Johannsen delivered “Behold, a Virgin Shall Conceive” and other arias with radiance and power."
Terry McQuilkin, The Register Guard, July 21, 2009
Die Entführung aus dem Serail (Lucerne Festival)
Konstanze
"From a homogeneous Mozart ensemble, the brightly shining, agile soprano of Robin Johannsen as Konstanze … stood out
beguilingly.
Urs Mattenberger, Neue Luzerner Zeitung, September 16, 2008
"The singers thank him with a beautiful ensemble performance from which Robin Johannsen as Konstanze, with slender intonation
and noble coloratura, stands out.“
Karl Gaulhofer, Die Presse, September 21, 2008
"Robin Johannsen as an expressive and wonderfully coloratura-secure Konstanze...“
Elisabeth Schwind, Südkurier, September 17, 2008
"In conclusion, by the majority appealing, the light-voiced singer ensemble offers, above all, the clearly- focused Robin Johannsen
as Konstanze.“
Oliver Schneider, Wiener Zeitung, September 15, 2008
"The expressive Robin Johannsen is...the most convincing singer of the evening.“
Susanne Benda, Stuttgarter Nachrichten, September 17, 2008
"When Konstanze sings the aria, 'Traurigkeit ward mir zum Lose' and her alter ego...dances, it is enough to make you weep... Robin
Johannsen as Konstanze, she is vocally the high point of the evening.“
Annelis Berger, DRS2 (Radio), September 15, 2008
"Robin Johannsen is an equally enchanting and burdened Konstanze.“
Florian Krenstetter, Die Kronen Zeitung, September 21, 2008
"In Robin Johannsen’s Konstanze, one heard the noble and gentle beauty in the voice as well.
Anna Kardos, Tages-Anzeiger, September 16, 2008
"The two women, Lini Gong from the Freiburg Theater (Blonde) and Robin Johannsen (Konstanze) are convincing with first-rate
articulation and – above all the latter- with brilliant coloratura.”
Alexander Dick, Badische Zeitung, September 16, 2008
Die Entführung aus dem Serail (Festspielhaus St. PÖlten)
Konstanze
“Musically the harmoniously assembled ensemble is to be praised. 'Prima inter pares' Robin Johannsen.”
Alexander Opatmy, Kurier (Austria), October 5, 2008
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
Siegfried (Bayreuther Festspiele)
Waldvogel
"...the vocal conclusion doesn’t look so rosy, apart from the exceptionally beautiful voice of the Forest Bird of Robin Johannsen.”
Fränkischer-Tag, August 2, 2008
"El bellísimo pájaro del bosque de Robin Johannsen se engarza en la tradición que llevó a Bayreuth para esta breve parte a las
mejores ligeras de cada época."
www.Wagnermanía.com, October 2007
"With Ring and magic shield he follows the Forest Bird (Robin Johannsen with gracefully lilting soprano)"
Offenbach Post Online, August 14, 2008
"Robin Johannsen gives a distinctive and dulcet- sounding Forest Bird...“
www.der-neue-merker.at, 2007
Tannhäuser (Bayreuther Festspiele)
Ein junger Hirt
"... and last but not least, the clear as a bell and therefore astoundingly understandable natural phenomenon Robin Johannsen as
the Young Shepherd.”
Kieler Nachrichten, July 28, 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 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
“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
"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
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
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
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
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
Brugge MAFestival
“The sopranos Roberta Invernizzi and the American Robin Johannsen were another story.
They competed for the crown, exactly the way it was at the start of the eighteenth century in Italy,
where opera was the most popular genre. Johannsen proved herself to virtuosity, energy, agility,
and endurance – she accounted for two-thirds of the vocal power...”
Greet Van’t veld, www.knack.be, August 5, 2011
“The American Robin Johannsen, with her pure, powerful voice, was able to bring everyone
to heavenly spheres."
Patrick Pieters, www.stadsomroep.com, August 6, 2011
“Soprano Robin Johannsen was a discovery for me, a round, warm, and engaging voice.”
Lucrèce Maeckelbergh, www.klassiek-centraal.be, August 20, 2011
Oregon Bach Festival
Handel Ode to St. Cecilia (conducted by Matthew Halls)
“Soloist Robin Johannsen’s brilliant and supple soprano rang out marvelously…”
James Bash, oregonmusicnews.com, July 13, 2011
“Johannsen sang with ease and beauty, ornamenting much of her music and singing the rapid passages with aplomb.”
Marilyn Farwell, Register-Guard, July 10, 2011
Purcell Dido and Aeneas (conducted by Monica Huggett)
Belinda & the First Witch
“Following Robin Johannsen’s brilliant opening arioso, the chorus’ “Banish Sorrow” was moving…In Act I, Johannsen skillfully
portrayed an earnest and spirited Belinda with magnificent vocal shimmer and clarity that soared through melody and story line,
thanks to her evident sensitivity to Purcell’s brilliant marriage of text, melody and harmonic movement. In Act II, she adjusted her
skilled instrument to embrace a timbre riddled with deviousness. “
Catherine Olson, Register-Guard, June 30, 2011
“Equally evocative and flexible was the singing of Robin Johannsen in the role of Belinda (Dido’s lady in waiting) and as the First Witch.”
James Bash, oregonmusicnews.com, June 29, 2011
Haydn’s Die Jahreszeiten ~ O.T. Theater Rotterdam (Staged Version)
Hanne
"The American Johannsen is a farmer’s dream woman: young, strong and with a disarmingly fresh, natural voice. Her singing alone is
worth making the trip to Rotterdam’s Nieuwe Luxor Theater."
Bela Luttmer, De Volkskrant, May 24, 2011
"As cheerfully and divinely as she may sing, soprano Robin Johannsen’s farmer girl ultimately falls prey to a guerrilla fighter."
Floris Don, NRC Handelsblad, May 26, 2011
"In particular the young soprano Robin Johannsen has a clear, compelling voice. With painted red lips and a cheerful smile, the diva
romps over the stage as a real farm girl. Her body moves just as gracefully as the runs in her arias."
Rolinde Hoorntje, ErasmusJournalisten.nl, May 24th, 2011
"Robin Johannsen (Hanne) is a discovery: what a gracious and expressive appearance and what a clear voice!"
Rudolf Hunnik, www.operamagazine.nl, May 27, 2011
"With soprano Robin Johannsen, tenor Tom Randle and bass Tim Mirfin, Haydn’s ode to nature had a great cast … With her sleek,
pure timbre, Johannsen was an ideal farmer’s daughter."
Anthony Fiumara, Trouw, May 28, 2011
Dallas Symphony
Messiah
“Soprano Robin Johannsen has a stage presence that sparkles. Her voice shimmers.”
Sally-Page Stuck, TheaterJones.com, April 15, 2011
“Soprano Robin Johannsen had a bright gleam on a warm core of sound.”
Scott Cantrell, DallasNews.com, April 15, 2011
Messiah ~ Sven-David Sandström
CD - Carus-Verlag
(Johannsen, Constantinescu, Fallon, Nagy; Festivalensemble Stuttgart, Rilling.)
“The technical demands on the soloists are high; they have to execute quite a lot of coloratura, which they do with aplomb. The two
female soloists in particular are very good and Robin Johannsen’s Behold, a virgin shall conceive is masterly.”
Göran Forsling, Musicweb-International.com, June 2010
Il Giasone ~ De Vlaamse Opera
Isifile
“Soprano Robin Johannsen sings the final song of the tragic Isifile so beautifully that it hurts.”
Floris Don, NRC Handelsblad, May 3, 2010
“For those, the American soprano, Robin Johannsen as Isifile/Hypsipyle, young girl in love, deploys celestial high notes and a lower
register to break hearts. In a three penny dress with her twins around her breasts, she is magnificent.”
Caroline Alexander, Webthea.com, May 18, 2010
“The American soprano Robin Johannsen put forward her gifts as a tragedienne in the heart-breaking laments of Hysipyle…”
Jean Lucas, Luxemburger Wort, May 17
“…the production can count on a particularly credible, young, engaged cast for which the theatre and the song are one…and Robin
Johannsen, refined soprano, Isifile.”
Martine D. Mergeay, Lalibre.be, May 5, 2010
“The music was sung by splendid young soloists...The American Robin Johannsen as the legitimate spouse of Giasone, Isifile, has a
warm soprano, expressive, and straightforward.”
Lucas Huybrechts, Knack.be, May 2, 2010
“The work of the leading countertenor must be classified as sensational…and the same for the unfortunate ‘Isifile’ of the soprano
Robin Johannsen, with a crystalline voice and impeccable intonation in the most serious role of this work.”
Jorge Binaghi, www.operayre.com.ar, May 2010
“The most dense and credible figure, the queen of Lemnos, a tender and combative Isifile, whose last lament represents the climax
of the opera…. Federico Maria Sardelli and Mariame Clément have at their disposal an ideal cast: the young singers assembled by
the Vlaamse Opera know…how to perform and they give without reserve…and the sweet and ethereal Isifile of Robin Johannsen, so
touching in her laments.”
Bernard Schreuders, Forumopera.com, May 11, 2010
“Medea’s opponent Isifile, beautifully performed by the American soprano Robin Johannsen, stands for the serious in this opera. It is
hers to win back Jason, bring him to reason in a very heartfelt last aria in which she asks to be tortured.”
Bert Hertogs, Concertnews.be, May 12, 2010
“In every respect the French countertenor Christophe Dumaux as Giasone and the vocally strong American soprano Robin Johannsen
as the constant Isifile were a dream pair.”
Lonneke Retger, Volkskrant, May 3, 2010
“The rest of the cast sang, however, more than outstandingly, whereby the leading players particularly excelled: Medea shone with a
large range, Isifile [Robin Johannsen] sounded especially emotional in her lamenti and Giasone himself convinced effortlessly and
applied gorgeous accents.”
Jan-Jakob Delanoye, Cutting Edge, May 1, 2010
“The sopranos Roberta Invernizzi and the American Robin Johannsen were another story.
They competed for the crown, exactly the way it was at the start of the eighteenth century in Italy,
where opera was the most popular genre. Johannsen proved herself to virtuosity, energy, agility,
and endurance – she accounted for two-thirds of the vocal power...”
Greet Van’t veld, www.knack.be, August 5, 2011
“The American Robin Johannsen, with her pure, powerful voice, was able to bring everyone
to heavenly spheres."
Patrick Pieters, www.stadsomroep.com, August 6, 2011
“Soprano Robin Johannsen was a discovery for me, a round, warm, and engaging voice.”
Lucrèce Maeckelbergh, www.klassiek-centraal.be, August 20, 2011
Oregon Bach Festival
Handel Ode to St. Cecilia (conducted by Matthew Halls)
“Soloist Robin Johannsen’s brilliant and supple soprano rang out marvelously…”
James Bash, oregonmusicnews.com, July 13, 2011
“Johannsen sang with ease and beauty, ornamenting much of her music and singing the rapid passages with aplomb.”
Marilyn Farwell, Register-Guard, July 10, 2011
Purcell Dido and Aeneas (conducted by Monica Huggett)
Belinda & the First Witch
“Following Robin Johannsen’s brilliant opening arioso, the chorus’ “Banish Sorrow” was moving…In Act I, Johannsen skillfully
portrayed an earnest and spirited Belinda with magnificent vocal shimmer and clarity that soared through melody and story line,
thanks to her evident sensitivity to Purcell’s brilliant marriage of text, melody and harmonic movement. In Act II, she adjusted her
skilled instrument to embrace a timbre riddled with deviousness. “
Catherine Olson, Register-Guard, June 30, 2011
“Equally evocative and flexible was the singing of Robin Johannsen in the role of Belinda (Dido’s lady in waiting) and as the First Witch.”
James Bash, oregonmusicnews.com, June 29, 2011
Haydn’s Die Jahreszeiten ~ O.T. Theater Rotterdam (Staged Version)
Hanne
"The American Johannsen is a farmer’s dream woman: young, strong and with a disarmingly fresh, natural voice. Her singing alone is
worth making the trip to Rotterdam’s Nieuwe Luxor Theater."
Bela Luttmer, De Volkskrant, May 24, 2011
"As cheerfully and divinely as she may sing, soprano Robin Johannsen’s farmer girl ultimately falls prey to a guerrilla fighter."
Floris Don, NRC Handelsblad, May 26, 2011
"In particular the young soprano Robin Johannsen has a clear, compelling voice. With painted red lips and a cheerful smile, the diva
romps over the stage as a real farm girl. Her body moves just as gracefully as the runs in her arias."
Rolinde Hoorntje, ErasmusJournalisten.nl, May 24th, 2011
"Robin Johannsen (Hanne) is a discovery: what a gracious and expressive appearance and what a clear voice!"
Rudolf Hunnik, www.operamagazine.nl, May 27, 2011
"With soprano Robin Johannsen, tenor Tom Randle and bass Tim Mirfin, Haydn’s ode to nature had a great cast … With her sleek,
pure timbre, Johannsen was an ideal farmer’s daughter."
Anthony Fiumara, Trouw, May 28, 2011
Dallas Symphony
Messiah
“Soprano Robin Johannsen has a stage presence that sparkles. Her voice shimmers.”
Sally-Page Stuck, TheaterJones.com, April 15, 2011
“Soprano Robin Johannsen had a bright gleam on a warm core of sound.”
Scott Cantrell, DallasNews.com, April 15, 2011
Messiah ~ Sven-David Sandström
CD - Carus-Verlag
(Johannsen, Constantinescu, Fallon, Nagy; Festivalensemble Stuttgart, Rilling.)
“The technical demands on the soloists are high; they have to execute quite a lot of coloratura, which they do with aplomb. The two
female soloists in particular are very good and Robin Johannsen’s Behold, a virgin shall conceive is masterly.”
Göran Forsling, Musicweb-International.com, June 2010
Il Giasone ~ De Vlaamse Opera
Isifile
“Soprano Robin Johannsen sings the final song of the tragic Isifile so beautifully that it hurts.”
Floris Don, NRC Handelsblad, May 3, 2010
“For those, the American soprano, Robin Johannsen as Isifile/Hypsipyle, young girl in love, deploys celestial high notes and a lower
register to break hearts. In a three penny dress with her twins around her breasts, she is magnificent.”
Caroline Alexander, Webthea.com, May 18, 2010
“The American soprano Robin Johannsen put forward her gifts as a tragedienne in the heart-breaking laments of Hysipyle…”
Jean Lucas, Luxemburger Wort, May 17
“…the production can count on a particularly credible, young, engaged cast for which the theatre and the song are one…and Robin
Johannsen, refined soprano, Isifile.”
Martine D. Mergeay, Lalibre.be, May 5, 2010
“The music was sung by splendid young soloists...The American Robin Johannsen as the legitimate spouse of Giasone, Isifile, has a
warm soprano, expressive, and straightforward.”
Lucas Huybrechts, Knack.be, May 2, 2010
“The work of the leading countertenor must be classified as sensational…and the same for the unfortunate ‘Isifile’ of the soprano
Robin Johannsen, with a crystalline voice and impeccable intonation in the most serious role of this work.”
Jorge Binaghi, www.operayre.com.ar, May 2010
“The most dense and credible figure, the queen of Lemnos, a tender and combative Isifile, whose last lament represents the climax
of the opera…. Federico Maria Sardelli and Mariame Clément have at their disposal an ideal cast: the young singers assembled by
the Vlaamse Opera know…how to perform and they give without reserve…and the sweet and ethereal Isifile of Robin Johannsen, so
touching in her laments.”
Bernard Schreuders, Forumopera.com, May 11, 2010
“Medea’s opponent Isifile, beautifully performed by the American soprano Robin Johannsen, stands for the serious in this opera. It is
hers to win back Jason, bring him to reason in a very heartfelt last aria in which she asks to be tortured.”
Bert Hertogs, Concertnews.be, May 12, 2010
“In every respect the French countertenor Christophe Dumaux as Giasone and the vocally strong American soprano Robin Johannsen
as the constant Isifile were a dream pair.”
Lonneke Retger, Volkskrant, May 3, 2010
“The rest of the cast sang, however, more than outstandingly, whereby the leading players particularly excelled: Medea shone with a
large range, Isifile [Robin Johannsen] sounded especially emotional in her lamenti and Giasone himself convinced effortlessly and
applied gorgeous accents.”
Jan-Jakob Delanoye, Cutting Edge, May 1, 2010
| Robin Johannsen |
S
| p |
| r |
| a |
| n |
| o |
| o |