The cooperation with Asher Fish, Sebastian Weigle for Salome and the composer and conductor Matthias Pintscher for “La mort de Cleopatre” was wonderful.
To: Weppernig, Steffi; Opernförderkreis Leipziger Oper (Mar 3, 2014)
Dear Ms Weppernig,
Through our supporting initiative we have received your hint regarding the resumption of “Manon Lescaut”. We have already been to both performances and were quite enchanted, not only by the highly interesting production, to which we got an introduction by Mr del Monaco himself, but also by the vocal performances. We would like to stress that we particularly liked Nadja Michael.
Despite of her dazzling appearance as Cassandra in “The Trojans” not being mentioned in the programme, she was our main reason to attend both performances.
Beate and Dr med Harald Weige
Suggestive visions of Mariusz Treliński and the astonishing Nadja Michael are Bluebeard’s merits at the National Opera.
” …Mariusz Treliński directs both protagonists very precisely, but a major part of the success is due to Nadja Michael. The German artist with a grand, noble voice creates the character of a compliant woman. Judith submits to her husband, sensing that she will be his next victim. The tension becomes almost intolerable as she grows progressively more and more afraid…”
Jacek Marczyński, rp.pl, 12.13
” …Most recently, we could witness Nadja Michael in “Macbeth” at the Bayerische Staatsoper and her incredible, clear, and expressive voice, together with her sensational performance, made a deep impression on us…
Nadja Michael’s fantastic interpretation of Judith has created a great, impressive character on stage. Her grand voice, full of expressiveness, moves the audience. With her tremendous intuition for performing on stage, taking one’s eyes off her is almost impossible. She has created the character or a strong, determined woman who knows what she wants. At the same time, however, she exudes a certain frailty, anxiety, and insecurity. It is apparent that Nadja Michael is used to singing in grand opera houses around the world. She is not afraid of the considerable size of the stage in the Warsaw Opera, and her voice can be heard throughout fully and clearly across the orchestra… “
“Congratulations! Friends have told me how great you were. I am very happy. My sincerest thanks. Your Wolfgang Rihm”
” …the singers have to face enormous vocal requirements concerning compass and brilliance, and the highest musical complexity. Nadja Michael’s voice in particular (as the Emperor of the Aztecs) exhibits all those challenging qualities. On top of that, the singer’s charisma and body language are captivating… “
” …Michael, who is known at the Teatro Real for her excellent portrayals of Poppea and Marie has, in the past, created outstanding parts (like Salome), has an exceptionally beautiful and powerful voice. All of this in the body of a dancer. With her voice, which she is able to modulate from gripping to touchingly tender, she lends the necessary expression to all her heroines – an expression which is reflected entirely in a smooth performance. Her Montezuma makes the audience doubt whether Cortez really is the conqueror, or whether she/he can ever be one… “
” …in the end it is understood that the grand impression of this production (stage design by Alexander Polzin/dramatic advisor) thrives on Nadja Michael’s overwhelming performance, which lures the audience into an almost dubious union with her performance. She is more than a mere singer or actress or dancer. The protagonist of Montezuma is conquering Madrid once more as a brilliant stage character … With her in the main role, this production can go a long way… “
” …As a singer, Nadja Michael is more than on a par with her lover Simon Keenlyside. The artist knows how to charge every note emotionally and her flexible voice lends terrifyingly real life to her role. A stupendous Marie, who – in prayer and play with her child – knows how to touch the audience in a most eerie way… “
Alicia Huerta, elimparcial.es, 06.13
” …Slowly, Nadja Michael develops a mighty Marie. At the climax of the opera, she is dismissive and cold towards Wozzeck, her voice is sensual and bold for the drum major; and when praying with the child and also at the lullaby in the beginning, she displays frailty despite of her vocal grandeur. Her voice shows metal, lyricism, and sometimes a certain dirtiness, but then again it is of bright brilliance, and so it creates a supremely complex character. The singer seems to be made for this ambivalence… “
Joaquin Rábago, nuvol.com, 06.13
” …Marie’s tessitura is feared because of its heights, contrasts and depths. Nadja Michael’s voice boasts all those qualities naturally and without force, all the while retaining a warm sonority. Her exquisite ability for interpretation puts the audience under her spell. Her way of singing is so natural, one almost forgets it’s an actress one is watching… “
José R. Dïaz Sande, madridteatro.net, 06.13