ELEKTRA (TITLE PART)
“Elektra’s first howling lament for her murdered father Agamemnon revealed Gabriele Schnaut as the marble megalith of soprano who was to dominate the evening. Her fierce rhythmic sculpting of Hofmannsthal’s strong, spare text was thrilling.”
Albert Hall / Radio 3, Hilary Finch, July 31, 2003
„And then we have a phenomenal singer like Gabriele Schnaut for the part of Elektra: a singer whose sheer presence casts a spell on the audience and whose exorbitantly radiant voice opens up chasms in your soul you never knew existed.”
Elektra (title part), Bayerische Staatszeitung Munich, July 31, 2003
“Gabriele Schnaut in the title role gave a commanding, at times truly terrifying performance, with a voice more than capable of carrying across the densely scored orchestral texture.”
The Herald, July 31, 2003
“[…] this has to go down as one of the most terrifying, thrilling evenings at the Proms this century, and probably last century, too.”
The Independent Review, July 31, 2003
„While anyone singing ‚Elektra’ certainly needs stamina, the first impression here of Gabriele Schnaut was of a voice of unstrained evenness, melancholy but not yet hysterical. That would come in due course. Schnaut is the ‘Elektra’ of the moment.”
Evening Standard, July 30, 2003
„[...] for Gabriele Schnaut, who has recently sung the title role at the Met and who was undeniably the dramatic linchpin of the performance.”
The Daily Telegraph, July 30, 2003
DIE FRAU OHNE SCHATTEN (FÄRBERIN)
Gabriele Schnaut sings with passionate frenzy that makesoccasional moments of introspection doubly affecting.”
Financial Times New York 2001
TURANDOT (TITLE PART)
„You can’t perform „Turandot“ without a vocally credible Turandot. In the German dramatic soprano Gabriele Schnaut, Lyric has found a singer who really delivers the vocal goods in this diva-devouring role. Schnaut, who was making her house debut, commands a big, shining sound that penetrated Puccini´s rich orchestral textures with ease.”
Chicago Tribune
 |
 |