Dorothea Röschmann


Born in Flensburg, Dorothea Röschmann was awarded the title of Kammersängerin at the Deutsche Staatsoper Berlin in 2017, where she was a member of the ensemble for many years.  She has been a frequent guest at that Salzburg Festival since 1995 and works regularly at the Wiener Staatsoper, Bayerische Staatsoper Munich, Semperoper Dresden, the Royal Opera House Covent Garden and in Berlin.  Renowned as a distinguished Mozartian, she has recently ventured into pastures new with role debuts as Ariadne, Elisabeth Tannhäuser and Gluck’s Alceste.  A renowned recitalist, she was awarded a Grammy in 2017 for her solo recital CD with Mitsuko Uchida.  She lives with her family in Hamburg.


From The Green Room


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    VERDI 'Otello' (DVD)

    Label: Unitel

    Release Date: 31 Mar 17

    Otello, José Cura

    Desdemona – Dorothea Roschmann

    Iago – Carlos Alvarez

    Cassio – Benjamin Bernheim

    Conductor – Christian Tielmann

    Director – Vincent Boussard

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    Sony Mozart Arias

    Label: Sony Music Classical

    Release Date: 06 Nov 15

    Swedish Radio Symphony Orchestra

    Dorothea Röschmann and Daniel Harding

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    Schumann and Berg

    Label: Decca Classics

    Release Date: 02 Oct 15

    Schumann: Liederkreis and Frauenliebe und Leben

    Berg: Sieben frühe Lieder

    Dorothea Röschmann and Mitsucko Uchida

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    Label: Sony Music Classical

    Release Date: 17 Nov 14

    Röschmann sings Schubert, Schumann, Strauss and Wolf

    Dorothea Röschmann and Malcom Martineau

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    Bach: Christmas Oratorio

    Label: Harmonia Mundi

    Release Date: 10 Jun 14

    Akademie fur Alte Musik Berlin

    Dorothea Röschmann, Werner Gura, Andreas Scholl and René Jacobs

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    HANDEL Famous Arias

    Label: Harmonia Mundi

    Release Date: 27 Oct 08

    The English Consert
    Akademie fur Alte Musik Berlin
    Philharmonia Baroque Orchestra

    Andreas Scholl, Dorothea Röschmann, Mark Padmore, Lorraine Hunt, Andrew Manze and Nicholas McGegan

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    BACH Dialogue Cantatas

    Label: Deutsche Grammophone

    Release Date: 15 Oct 07

    Berliner Barock Solisten

    Thomas Quasthoff, Dorothea Röschmann and Rainer Kussmaul

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    BACH St. Matthew Passion

    Label: Teldech

    Release Date: 26 Mar 07

    Concentus musicus Wien

    Arnold Schoenberg Chor, Bernarda Fink, Elisabeth von Magnus, Dorothea Röschmann, Christoph Prégardien, Michael Schade, Oliver Widmer and Nikolaus Harnoncourt

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    BRAHMS Ein Deutsches Requiem

    Label: EMI Classics

    Release Date: 05 Mar 07

    Berliner Philharmoniker

    Dorothea Röschmann, Thomas Quasthoff and Simon Rattle

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    HANDEL Giustino

    Label: Harmonia Mundi

    Release Date: 09 Nov 05

    Freiburger Barockorchester
    Cantatus Halle

    Michael Chance, Dorothea Röschmann, Dawn Kotoski, Juliana Gondek, Jennifer Lane, Drew Minter, Mark Padmore, Dean Ely and Nicholas McGegan

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    BACH Secular Cantatas

    Label: Archiv Produktion

    Release Date: 01 Oct 99

    Ex Tempore
    Cologne Musica Antiqua

    Dorothea Röschmann, Axel Köhler, Christoph Genz, Hans-Georg Wimmer and Reinhard Goebel

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    BACH Cantatas Vol. 8

    Label: Erato

    Release Date: 19 Feb 99

    Amsterdam Baroque Choir
    Amsterdam Baroque Orchestra

    Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Ton Koopman, Elisabeth von Magnus and Dorothea Röschmann

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    HANDEL Messiah

    Label: Archiv Produktion

    Release Date: 06 Oct 97

    Gabrieli Consort and Players

    Dorothea Röschmann, Susan Gritton, Bernada Fink, Charles Daniels, Neal Davies and Paul McCreesh

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    29 Feb 20 Beethoven
    Cincinnati Music Hall

    “Ah! perfido,” an underrated concert aria from the 1790s, had a Mozartean modesty in captivating counterpoint to the Olympic vocal part, sung with a touch of Wagner by the soprano Dorothea Röschmann.”
    Joshua Barone, The New York Times, 2 March 2020

    “Soprano Dorothea Röschmann sang gloriously in “Ah! Perfido”

    “…Röschmann… made an impressive debut in Beethoven’s scene and aria, “Ah! Perfido” of 1796… Röschmann’s phrasing was deeply felt, every word infused with passion as she traversed an emotional range from fury to revenge to pity.”
    Janelle Gelfand, Cincinnati Business Courier, 1 March 2020

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    26 Jan 20 Berg Seven Early Songs
    Philharmonie de Paris

    “Elle allie un goût du détail et des nuances à un phrasé ample et lyrique.”

    “She combines detail & nuance with plentiful & lyrical phrasing.”
    Frédérique Epin, Olyrix, 29 January 2020

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    24 Jan 20 Berg Seven Early Songs
    Alte Oper Frankfurt

    “Hier wirkte der Sopran Dorothea Röschmann’s mit seiner Möglichkeit zu fließender, raumgreifender Qualität trefflich.”

    “Here, Dorothea Röschmann’s voice, has a fantastically open & flowing quality.”
    Bernhard Uske, Frankfurter Rundschau, 26 January 2020

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    16 Jan 20 Berg Seven Early Songs

    “The sensuality was irresistible. Dorothea Röschmann delivered the solo soprano part with suitably rapturous attention to the ripely Romantic texts.”
    Barry Millington, Evening Standard, 20 January 2020

    “Dorothea Röschmann’s soprano was ideal … combining sensuality of line and a silvery tone. In The Nightingale she soared ecstatically aloft for the “sweet melody… that bears a thousand roses”. The big leap at the end of the last song is a big ask, but Röschmann summoned the power needed for that climactic moment.”
    Roy Westbrook, Bachtrack, 18 January 2020

    “The concert opened with Berg’s Seven Early Sings sung superbly by Dorothea Röschmann … Röschmann sang them with attention to detail and demonstrated a wonderful range of colour. A superb voice and performance.”
    Philip M, Classical Music Guide Online, 16 January 2020

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    14 Jan 20 Berg Seven Early Songs
    Birmingham Symphony Hall

    “Capturing the ethereal magic woven into the music, Dorothea Röschmann’s voice seemed to emerge from nowhere as she began the cycle with “Nacht” (Night) set to poetry by the German writer and playwright Carl Hauptmann.”
    Miranda Heggie, The Arts Desk, 15 January 2020

    “The soprano soloist was Dorothea Röschmann, savouring every word in the most lustrous honeyed tones.”
    Andrew Clements, The Guardian, 15 January 2020


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    30 Oct 19 Lieder Recital with Malcolm Martineau
    Recinte Modernista de Sant Pau, Barcelona

    “La cantante… revisó una amplia paleta ‘liederística’ y algunos de los ciclos más complejos del repertorio, imponiendo una línea de canto extraordinaria, madura, de iluminada belleza, con total dominio de los recursos técnicos y expresivos que ella sabe usar… El plato fuerte de la primera parte de la velada llegó con los ‘Rückert Lieder’ de Mahler, dichos con una vocalidad única que daba sentido a cada palabra, grupo coronado con un emocionante ‘Um Mitternacht’…

    Después del descanso ambos artistas interpretaron dos ciclos fundamentales como son los ‘Gedischte der Königin Maria Stuart’ de Schumann – cantados como si fueran escenas operísticas..- y los ‘Wesendonck Lieder’ de Wagner, de los que se ofrecieron versiones sencillamente inolvidables, con un fraseo cuidado y emotive.”

    “The singer… demonstrated a wide ‘Liederistic’ palette with some of the most complex cycles of the repertoire, asserting an extraordinary, mature, dazzlingly beautiful vocal line, with full mastery of the technical and expressive resources that she knows how to utilise… The main feature of the first half of the evening was Mahler’s Rückert Lieder, performed with a unique vocality that gave meaning to every word, crowned with a moving ‘Um Mitternacht’…

    “After the interval, the artists performed two pivotal cycles – Schumann’s ‘Gedischte der Königin Maria Stuart’ – sung as if they were operatic scenes – and Wagner’s ‘Wesendonck Lieder’, of which they gave simply simply unforgettable versions, with careful and emotional phrasing.”
    Pablo Meléndez-Haddad, El Periodico, 31 October 2019

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    04 Sep 19 Wagner Wesendonck Lieder
    Philharmonie de Paris

    “Dorothea Röschmann articule le texte à la perfection et elle unifie sa ligne mélodique avec un vibrato vif et constant…”

    “Dorothea Röschmann articulates the text to perfection and unites her melodic line with a lively and consistent vibrato…”
    Tristan Labouret, Bachtrack, 05 September 2019

    “Son timbre sombre, son émission claire et franche… lui donnent une formidable force expressive… Dorothea Röschmann raconte une histoire… et elle s’empare des cinq Lieder avec une conviction et une variété de dynamiques remarquables.”

    “Her deep timbre, her clear and candid performance… lend her a formidable expressive force … Dorothea Röschmann tells a story … and captures the five Lieder with conviction and a variety of remarkable dynamics.
    Claire-Marie Caussin, ForumOpera, 04 September 2019

    “Soprano allemande Dorothea Roschmann, dont le timbre moire, prenda peu a peu possession de l’espace musical.”

    “German soprano Dorothea Roschmann, with her shimmering timbre … gradually takes possession of the musical space.”
    Marie-Aude Roux, Le Monde, 04 September 2019

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    26 May 19 Gluck Alceste
    Munich Opera

    “Die Gefühlswelt der Alceste… die stark geforderte Mittellage, die Tiefenabstürze, dazu triumphierende Spitzen – lässt sich kaum adäquat besetzen. Dorothea Röschmann hat sich die Rolle klug und gut zurechtgelegt… ”

    “For the emotional world of the Alceste… the strongly demanded middle position, the deep crashes, to triumphant peaks – can hardly be filled adequately. But Dorothea Röschmann has managed the role wisely and well…”
    Markus Thiel, Merkur, 29 May, 2019

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    28 Mar 19 Berg Three Fragments from Wozzeck
    Berliner Philharmoniker

    “Marie mothers Wozzeck’s son, and the second Fragment (technically a theme, variations and fugue) is concentrated and expressive – rigorous musical formality not censoring emotional volatility – Dorothea Röschmann revealing Marie’s woes and taxing the broadcast’s dynamic range; it was a vivid characterisation. The creepy ripples of sound that open the third extraction (singer not required) were delineated with much consideration before breaking into doom-laden expanse and a fearsome climax leaving blood-red moonlight hanging in the air.”
    Colin Anderson, Classical Source, 29 March 2019

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    25 Feb 19 INAEM Recital Schubert, Mahler, Schumann, Wagner

    “Für Wagners intime Liedkunst setzt sich Röschmann mit ihrer eindringlichen Kunst ein.”

    “Röschmann sings Wagner’s intimate art-song with a haunting artistry.”
    Sarah Artistou, Opern & Konzertkritik Berlin, 24 February 2019

    “Firstly [Roschmann], has a voice of enormous quality, of beautiful timbre and, something you hear much less frequently, a voice homogeneous in all registers; secondly, an unfaltering technique, which allows her to shape her voice at whim, tune each and every one of the notes with apparent ease and effortlessly pair the notes with the dynamics she considers most appropriate.”
    Luis Gago, El Pais, 26 February 2019

    “By powerful I mean beautiful, captivating, smooth, subtle and homogeneous. Röschmann always sings in search of expressiveness. To achieve this, she not only creates theatricality in her voice, but also challenges its capacity & her resources, very attentive to possible dynamics and the development of colours in an always iridescent timbre…”
    Ben Vine, Palatea Magazine, 27 February 2019

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    21 Aug 18 Edinburgh Festival Recital Schubert, Schumann, Wolf

    “Röschmann’s greatest skill was taking us deep into the emotion of each song, from the wide-eyed innocence of the maiden to the ecstasy of the bride and mother, through to the pain of the widow”… “…[her] voice has a richness and beauty that approaches refulgence in the ecstatic high lines of Schubert and Wolf, but can also command the low-lying lines of Schumann without trouble, and the richness of the lower register made this Frauenliebe something rather special”

    Simon Thompson, Seen and Heard International, 21 August 2018

    “Singing with a deep sense of conviction, her polished technique allowed quick changes of colour to convey the meaning of the texts with clear, deliberate enunciation”

    Carol Main, The Scotsman, 22 August 2018

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    10 Sep 18 Schubert, Schumann, Wolf Recital
    Wigmore Hall

    “The patent sincerity of Röschmann’s singing… was evident from the very first of the late Gedichte der Königin Maria Stuart, ‘Abschied von Frankreich’… [whilst, in] ‘An die Königin Elisabeth’, the colour of Röschmann’s lower range [was] both lacerating and comforting”

    Mark Berry, Opera Today, 14 September 2018


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    05 Jun 18 Schubert Fierrabras
    Teatro alla Scala, Milan

    “As at the Salzburg premiere, soprano Dorothea Röschmann was Florinda. For my taste, she was the best singer in the cast, expressive and with an appealing voice.”

    José M. Irurzun, Seen and Heard International, 20 June 2018

    “Dorothea Röschmann…ha mantenuto inalterate la robustezza… l’interpretazione è di assoluta incisività, tesa come un arco di violino nei non rari momenti di tensione emotiva ma capace di essere carezzevole e dolcissima nel duetto con Maragond o in generale nelle parti più liriche. Il suo Melodram in cui descrive la battaglia in un climax espressivo emerge come il momento forse più emozionante della serata.”

    “Dorothea Röschmann… maintained an unfaltering strength of sound… her acting is decidedly powerful: taut as a violin bow during the many moments of emotional tension but also capable of being gentle and sweet in the duet with Maragond or during the more lyrical parts in general. Her Melodram, during which she describes the battle in an expressive climax, emerges as perhaps the most moving moment of the evening.”

    Giordano Cavagnino, GB Opera Magazine, 9 June 2018

    “Dorothea Röschmann… ha ancora gravi risonanti e centri che corrono con una certa scioltezza. L’interprete è espressiva, tanto nel dolcissimo duetto con Maragond quanto nella “aria di furia” … Nell’aria del terzo atto: “Des Jammes herbe Qualen” è delicata e tenera al contempo, immersa com’é nel rimpianto di una felicità tanto agognata”

    “Dorothea Roschmann… still has a resonant lower timbre and the middle range runs with a certain effortlessness. The acting is expressive, as much during the lovely, sweet duet with Maragond as in the “aria di furia”… During the aria of the third act: “Des Jammes herbe Qualen”, she is delicate and tender while at the same time overcome by regret for such a yearned-for happiness”

    Ugo Malasoma, Opera Click

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    23 Feb 18 Mahler Symphony No. 2
    Dallas Symphony Orchestra

    “German soprano Dorothea Roschmann’s voice rose magically from the general choral sound with soaring radiance”
    Wayne Lee Gay,Texas Classical, 2February 2018


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    08 Feb 18 U.S Spring Recital Tour, 2018 Schubert, Mahler, Schumann, Wagner

    “The haunting Mahler finale was carefully sung, provoking a far off vision, with Ms. Röschmann nailing a soaring high note that quietly broadened into a long pensive postlude. This was perhaps the recital’s highlight.”… “Röschmann’s operatic credentials immediately were on display in “Der Engel,” a stunning ray of vocal sunshine.”
    Terry McNeill, Classical Sonoma, 18 February 2018

    “From the first notes it was clear that Röschmann was in beautiful voice, retaining all of her silver purity in the higher register.”
    Pessimisissimo, Exotic and irrational entertainment, 19 February 2018 

    “Röschmann has exceptional control of her volume, varying between a light whisper and powerful vocals with ease. She enunciates carefully, sounding each consonant with her whole face, and is capable of trilling like a bird with her vibrato. She puts great feeling into her voice, especially in the tragic songs of Schumann’s Mary, Queen of Scots cycle.”
    Morgan Halvorsen, MD Theatre Guide, 11 8

    “Dorothea Röschmann is singer who creates an entire world within the confines of a few pages of music, she can smolder with dramatic intensity but expresses it within the natural limits of her voice.”
    Rick Perdian, Seen and Heard International,16 February 2018

    ” This was an evening of music-making of the highest order, for both soprano and pianist are masters of their art, and communicators sans pareil”
    Oberon, Oberons Grove, 14 February 2018


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    12 Jan 18 Spring Recital Tour Schubert, Mahler, Schumann, Wagner

    “Dorothea Röschmann ihre kräftige Stimme vor, die sie in eindrucksvollen Nuancen zu führen weiß.”

    “Dorothea Röschmann presented a powerful performance using her impressive nuances.”
    Markus Gründig, Kulturfreak, 24 January 2018

    “Les « Wesendonck Lieder » sont le couronnement de la soirée : le timbre est idéal, la longueur du souffle exemplaire, et l’incarnation des poèmes met en exergue l’humanité que déploie Wagner dans ce cycle. « Im Treibhaus » est un bonheur au piano, la chanteuse se faisant irréelle, somptueuse dans « Schmerzen » et offre un « Träume » superlatif.”

    “The “Wesendonck Lieder” was the culmination of the evening: her timbre is ideal, the length of the breath is exemplary, and the incarnation of the poems highlights the humanity that Wagner deploys in this cycle. “Im Treibhaus” is a joy on the piano and the singer is unreal, sumptuous in “Schmerzen” and offers a superlative “Träume”.”
    Thomas Muller, Back Track, 14 January 2018

    “El canto de Röschmann es escrupuloso, minucioso y comprometido, un canto honesto, poderoso y bien administrado.”

    “Röschmann’s singing is scrupulous, thorough and committed, an honest, powerful and well-managed song.”
    Mundoclasico, 5 December 2017

    “Roschmann really lived these songs, and served them in a careful sequence so that the emotional rollercoast of the recital was unmissable, even for those unfamiliar with the language of Goethe”…” In the Mahler Ruckert-Lieder that followed – a distinctly different dramatic approach seemingly agreed in their minute off-stage – the poise in his playing, and in the transition between songs, was the perfect accompaniment to her incredible instrument and her remarkable fluctuation in dynamics between syllables of the same word.”…” With each successive group of songs, the sophistication of the relationship between singer and accompanist seemed further enhanced.”
    ★★★★★ Keith Bruce, Herald Scotland, 17 January 2018

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    07 Jan 18 Mozart Don Giovanni
    Staatsoper Berlin

    “Dorothea Röschmann’s characterisation as Donna Elvira is irresistible. Her state, very much as a woman on the edge of a nervous breakdown, is cleverly underlined throughout… Her Donna Elvira reflects the production itself brilliantly.”
    Hugo Shirley, Fatal Conclusions, 16 January 2018

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    10 Nov 17 Mahler Symphony No. 2
    Philharmonie de Paris

    “Dorothea Röschmann lui offre une réplique lumineuse. Malgré le peu d’interventions véritablement solistes confiées par Mahler, elle parvient à séduire son auditoire, au moyen d’une projection puissante mais souple et d’une véritable incarnation de l’idée chantée.”

    “Dorothea Röschmann offered a delicate performance, she managed to seduce her audience with a powerful yet flexible projection and a real incarnation of the sung (cantabile) idea.”

    Alexandre Jamar, Forum Opera, 10 November 2017

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    26 Oct 17 Berg Wozzeck Fragments
    Gasteig Munich

    “Röschmann intoniert rein und singt klar in der Linienführung.”

    “Röschmann intoned a pure and clear cantabile line.”

    Andreas Pernpeintner, Suddeutsche Zeitung, 27 October 2017

    “Für eine interessante neue Färbung sorgte allerdings Dorothea Röschmann, die mit ihrem an Mozart geschulten Sopran eine Marie fernab aller Rollenklischees gab.”

    “[Daniel Harding and] the soprano Dorothea Röschmann, who concealed her Mozartean voice, created a magificent spark in their collaboration.”

    Tobias Hell, Munchner Merkur, 28 October 2017

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    08 Jul 17 Verdi Otello
    Royal Opera House, Covent Garden

    “Röschmann’s Desdemona was something really quite special.  Right from her very first entry, she gave notice of a very special evening to follow.  The voice, with its attractive fast vibrato, is instantly recognizable.  This was a stronger Desdemona than most, one really got a sense of her betrayal and she refused to accept it meekly….Her cry of “Ah Emilia addio” descending from the A-sharp was absolutely heartbreaking – so much pain in the sound yet with its beauty never compromised.  Most impressive.”

    Opera Traveller, 9 July 2017

    “Desdemona is also powerfully portrayed by Dorothea Röschmann. Dressed in white to reflect her purity and innocence, her voice strongly reflects her character’s intense fear towards her impending tragedy, above all during the Willow Song, the Ave Maria, and her farewell to Emilia …”

    ★★★★★ Enza De Francisci, Plays To See, 17 July 2017

    His Desdemona on this occasion, Dorothea Röschmann, who sang the role under Christian Thielemann in Salzburg and Dresden, brough a more detailed and, in the final analysis, more touching response to the music …Her Willow Song and Ave Maria were both exquisite, among the most memorable I have heard at Covent Garden.”

    Hugh Canning, Opera Magazine, September 2017

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    25 Apr 17 Mozart Le nozza di Figaro
    Staatsoper Unter den Linden

    “Dorothea Röschmann’s Countess offered Mozart on the very grandest scale, even beyond Jessye Norman. The climax of ‘Dove sono’ was well-nigh Wagnerian, although alas, the audience ruined the end of the aria by applauding for several bars before it had finished.”

    Mark Berry, Boulezian, 26 April 2017

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    31 Mar 17 Verdi Otello (DVD)
    Osterfestspiele Salzburg

    “Röschmann is wonderful.  She sings absolutely beautifully and creates just about the ideal Desdemona; vulnerable, faithful and with a certain sense of inevitability.”

    John Opera Rambling, 31 May 2017

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    11 Jul 16 Recital 11/07/2016
    Prinzregententheater, Munich

    “Trotzdem ist der Höhepunkt dieses Abends bereits vor der Pause erreicht: Mit welcher Präsenz und mit welch ausgefeiltem sängerischem Vermögen Röschmann Gustav Mahlers Fünf Lieder nach Texten von Friedrich Rückert durchdringt, insbesondere das ätherische ‘Ich atmet’ einen linden Duft’, das zärtliche ‘Liebst du um Schönheit’ und das entrückte ‘Ich bin der Welt abhanden gekommen’, ist bezaubernd.”

    “‘The highlight of the evening was achieved before the break. Röschmann brings presence and sophistication to the five Mahler songs’…’they were enchanting'”
    Andreas Pernpeintner, Süddeutsche Zeitung, 12 July 2016 

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    30 May 16 Weber Der Freischütz
    Deutsche Staatsoper Berlin

    “Dorothea Röschmann equally dazzled with authentic virtue as Agathe. She is modest letting her voice convince. Her purity moved me to tears with her ‘Und ob die Wolke sie verhülle’, as she prays to heaven to protect her after her foreboding dream where she is shot by Max.”
    David Pinedo, Opera Today, 12 September 2016

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    15 Apr 16 Janáček Jenůfa
    Vienna State Opera

    “(…) ausdrucksvoll und farbenreich singende Dorothea Röschmann”

    “Dorothea Röschmann sings with expression and colour.”
    Wilhelm Sinkovicz, Die Presse, 7 April 2016 

    “Dorothea Röschmann ist als Jenufa in Bestverfassung. Überzeugend mit berührender Innigkeit und schön gefärbten Sopran, gibt sie die unglücklich Liebende, die verzweifelte Mutter, die ihr Kind verliert und sich am Ende mit ihrem Schicksal versöhnt.”

    “Dorothea Röschmann as Jenufa is in fabulous shape. With touching sincerity and a beautifully coloured voice, she convincingly embodies the unhappy lover, the desperate mother who loses her child and reconciles with her fate at the end.”
    Susanne Zobl, News, 7 April 2016 

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    01 Apr 16 Verdi Otello
    Salzburg Easter Festival

    “Diese Desdemona weiß, dass sie ermordet wird, fast sehnt sie sich danach, alles andere wäre ein Unglück. Zärtlich geht Röschmann das Ave Maria und vor allem das Lied von der Weide an, das ihren Schmerz sublimiert. Ihre hohen Töne fluten wie ein Schatten aus dem Jenseits: der sängerische Höhepunkt des Abends.”

    “This Desdemona knows she will be murdered and almost longs for it as if anything else would be a disaster. Affectionately she approaches the Ave Maria and especially the Willow Song, which alleviates her pain. her high notes flood like a shadow from beyond: the vocal highlight of the evening.”
    Reinhard J. Brembeck, Süddeitsche Zeitung, 30 March 2016 

    “Dorothea Röschmann gibt ihrer in Weiß gewandeten Desdemona einen ausdrucksstarken Sopran, der explosive Kraft entfesseln, aber auch herzerweichendes Klage-Melos verströmen kann.”

    “Dorothea Röschmann gives an expressive Desdomona that unleashes explosive power, but can also exude air of heart-melting grievance.”
    Otto Paul Burkhardt, Südwest Presse, 22 March 2016 

    “Sie bezaubert mit ihrer lyrischen Dramatik, den feinen Bögen und der verinnerlichten Klarheit ihres Soprans.”

    “She [Dorothea Röschmann] enchants with her lyrical drama, fine phrases and the embodied clarity of her soprano voice.”
    Judith Belfkih, Wiener Zeitung, 21 March 2016 

    “(…) deren Desdemona eine in jeder Hinsicht unangestrengte Perfektion garantierte.”

    “Dorothea Röschmann’s Desdemona guaranteed effortless perfection in every sense.”
    Michael Ernst, Neue Musikzeitung, 20 March 2016 

    “Insbesondere in der Todesstunde beweist Dorothea Röschmann, dass sie neben orkanhafter Vehemenz in den dramatischen, klangdichten Passagen auch die ganz zarten Momente mit sehr viel Feingefühl erfüllen kann.”

    “Dorothea Röschmann proves, particularly in the hour of death, that she is able to show hurricane-like vehemence in the dramatic passages, as well as fill tender moments with sensitiveness.”
    Michaela Schabel,, 19 March 2016 

    “Röschmann als sorgenvolle Desdemona berührte die Herzen des Zuhörers mit ihrer rührseligen Liebeserklärung an Otello zum Ende des ersten Akts und, mit sich selbst im Reinen, mit ihrem sehr getragenen Weidenlied, wobei besonders ihre stimmliche Präsenz und Leichtigkeit in allen Lagen herausragend war. Röschmanns dynamisches Spektrum reichte vom hauchzarten Wispern bis zum entsetzlichen Verzweiflungsschrei.”

    “Röschmann as sorrowful Desdemona touched the audience with the declaration of her love to Otello towards the end of the first act. Also her sustained performance of the Willow Song was moving and showed her vocal presence and lightness in all ranges. Her dynamic variety ranges from a gentle whisper to a horrifying scream of despair.”
    Christine Arnold, Bachtrack, 21 March 2016 

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    15 Jan 16 Berg Seven Early Songs
    Usher Hall, Scottish Chamber Orchestra

    “Her rich, buoyant voice was just right for Berg’s shimmering fin-de-siècle sound world, cresting the top notes with sumptuous bloom, and matching the dark, fruity orchestral textures like a diamond against a black cushion. At times, such as at the end of Traumgekrönt, she seemed almost to settle into the beauty of her own sound, and it was remarkable that she could move so easily between the knowing awareness of Liebesode and the innocent, almost childlike feeling of Im Zimmer.”
    Simon Thompson, Seen and Heard International, 15 January 2016 

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    09 Dec 15 Schumann & Berg Decca CD
    Wigmore Hall with Mitsuko Uchida

    “‘Right from the start , we get a sense of the quality in store – Röschmann’s interpretative imagination’…’the sensuality of Röschmann’s voice, rich and even plummy in its lower register but soaring with purity and point to its higher reaches…It’s extremely seductive and powerful’…’the intelligence and commitment of her performance elevate the poetry'”
    Hugo Shirley, Gramophone Magazine, December 2015

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    17 Nov 15 Mozart Arias CD
    Swedish Radio Symphony Orchestra & Daniel Harding

    “This recording is a fitting tribute to a composer whose work is legendary, and whose influence upon music is evident not only in his own genre but in the industry as a whole. Opera fans are going to be delighted with this release and, if they have not already, will surely seek out Roschmann’s previous albums.”
    Jackie Smith, Cargo Art, 9 November 2015 

    “Dorothea Röschmann bei mir Schleife. Zu Hause, im Auto, im Bus.  Schon lange habe ich keine so üppig, reich und edel timbrierte Stimme mehr Mozart singen gehört. Da muss man schon zu den Hoch-Zeiten einer Sena Jurinac, Leyla Gencer, Edda Moser, Mirella Freni oder Julia Varady zurückgehen, um auf adäquate Vergleiche zurückgreifen zu können. Live anlässlich eines Konzertes  in der Berwaldhallen in Stockholm im November 2014 aufgenommen, bescheren uns die Röschmann, das Swedisch Radio Symphony Orchestra unter Daniel Harding das ultimative Mozart-Hörerlebnis. Fokussiert auf die dramatischen Arien aus Idomeneo, La Clemenza die Tito und Don Giovanni inkl. der viel zu selten aufgeführten Konzertarie ‘Bella mia fiamma, Addio’ KV 528, enthält die CD mit der Arie ‘Solitudine amiche … Zeffiretti lusinghieri’ (Idomeneo, Ilia) und den beiden Arien der Figaro Gräfin auch noch akustische Reminiszenzen an die lyrischere Phase ihrer Karriere.”

    “Dorothea Röschmann in my bow, at home, in the car, in the bus For a long time I have not heard such a lush, rich and noble-timbred voice singing Mozart – you have to go to the peak times of a Sena Jurinac, Leyla Gencer, Edda Moser, Mirella Freni or Julia Varady, to make the most of their comparisons Live recorded on the occasion of a concert in the Berwaldhallen in Stockholm in November 2014, the Röschmann, the Swedisch Radio Symphony Orchestra under Daniel Harding bring us the ultimate Mozart listening experience Focusing on the dramatic arias from Idomeneo, La Clemenza the Tito and Don Giovanni incl. The much too seldom listed concert aria ‘Bella mia fiamma, Addio’ KV 528, contains the CD with the aria ‘Solitudine amiche … Zeffiretti lusinghieri’ (Idomeneo, Ilia) and the two arias of the Figaro Countess also still acoustic reminiscences of the lyrical phase of her career. “
    Dr Ingobert Waltenberger, Der Neue Merker, November 2015 

    “Le timbre mûr, éloquent, charnel et aussi très investi de la soprano allemande Dorothea Röschmann (née en Allemagne, à Flensbourg en juin 1967) nous touche infiniment : depuis sa coopération avec René Jacobs dans des réalisations qui demeurent éblouissantes (Alessandro Scarlatti: Il Primo Omicidio, entre autres – pilier de toute discographie pour les amoureux d’oratorios et d’opéras baroques du XVIIè), la chanteuse sait colorer, phraser, nuancer et surtout articuler le texte comme peu, avec une intelligence de la situation qui éclaire son sens de la prosodie. Un chant intérieur, souvent embrasé qui la conduit naturellement aux emplois lyriques évidemment mozartiens.”

    “The mature, eloquent, carnal timbre and also the great soprano Dorothea Röschmann (born in Germany, in Flensburg in June 1967) touches us immensely: since her cooperation with René Jacobs in achievements that remain dazzling (Alessandro Scarlatti: Il Primo Omicidio, among others – pillar of any discography for lovers of oratorios and baroque operas of the seventeenth century), the singer knows how to color, phrasing, nuance and especially articulate the text as little, with an intelligence of the situation that illuminates his sense of prosody, an inner song, often glowing, which leads naturally to lyrical, obviously Mozart jobs.”
    Lucas Irom, Classique News, 7 November 2015 

    “Die Vielfalt an Frauengestalten ist in Mozarts Opern unerschöpflich. Da haben wir die tragische, die rasende oder kokette, die ins Komische gebrochene oder die leidende Frauenrolle. Dorothea Röschmann beherrscht sie alle. Begleitet vom Swedish Radio Symphony Orchestra unter dem phänomenalen Daniel Harding erleben wir die große Sopranistin in höchster Erregung bei ‘Oh smania! Oh Furie! … D’Oreste, d’Aiace’ aus ‘Idomeneo’ oder als Verkörperung eines von Mozart einzigartig idealisierten Frauenbildes voller Reinheit und Menschlichkeit in Arien der Gräfin Almaviva aus ‘Le Nozze die Figaro’. Neben Arien aus ‘Don Giovanni’ und ‘Tito’ ist aber auch die Konzertarie ‘Bella mia fiamma, addio!’ enthalten, die Mozart einmal voller Abschiedsschmerz in Prag 1787 für Josepha Duschek schrieb.”

    “The diversity of female figures is inexhaustible in Mozart’s operas, and we have the tragic, the frenzied or flirtatious, the comic broken or the suffering female role Dorothea Röschmann who commands them all, accompanied by the Swedish Radio Symphony Orchestra under the phenomenal Daniel Harding the great soprano in the highest excitement at ‘Oh smania! Oh Fury! … D’Oreste, d’Aiace’ from ‘Idomeneo’ or as the embodiment of a unique idealized by Mozart image of women full of purity and humanity in arias of Countess Almaviva from ‘Le Nozze the Figaro ‘In addition to arias from’ Don Giovanni ‘and’ Tito ‘is also the concert aria’ Bella mia fiamma, addio! ‘ which Mozart once wrote full of farewell pain in Prague in 1787 for Josepha Duschek.”
    Helmet Peters, Klassikerleben, November 2015 

    “‘Röschmann turns the slight edge on her tone to advantage in a performance that mingles tenderness, fire and neurotic obsessiveness.’…’Röschmann flawlessly negotiates the chromatic minefields and brings a moving humanity to this scene of a man awaiting his death, culminating in a climax of terrifying desperation.'”
    Richard Wigmore, Gramophone Magazine, December 2015

    “Röschmann works in detail, meaning that each of these characterizations, line by line, reveals a three-dimensional human being. Take the disc’s three opening tracks, presenting Mozart’s most wildly emotional women. ‘D’Oreste d’Aiace’ reveals Elettra’s fury with all the intensity required, but vulnerability and hurt, for a change, are evident as well. Singing ‘Deh, se piacer mi vuoi’—a captivating, too-little-known aria, one of the gems of the Clemenza score—the soprano ideally projects Vitellia’s sexy manipulativeness. Also included is that character’s more familiar ‘Non più di fiori,’ in which Röschmann immerses herself totally in this harrowing self-examination, with impressive richness and breadth in her lower register.”
    Roger Pines, Opera News 

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    07 Nov 15 Mozart Le nozze di Figaro
    Deutsche Staatsoper, Berlin

    “Dorothea Röschmann ist natürlich die Gräfin unserer Zeit. Porgi Amor geht nicht besser.”

    “Dorothea Röschmann is of course the countess of our time, Porgi Amor is not getting any better.”
    Maria Ossowski, RBB Online, 8 November 2015 

    “Dorotheas Röschmanns Gräfin muss man dringend unter Naturschutz stellen. Es singt aus ihr mit Macht heraus, es kündet derart von Einsamkeit und Verletztheit, dass es in diesem Inszenierungszusammenhang fast schon stört.”

    “Dorothea’s Röschmann’s Countess is in urgent need of nature conservation, and she sings out of it with power, so much so that she is so lonely and hurt that it almost disturbs her in this setting.”
    Elmar Krekeler, Die Welt, November 2015 

    “Dorothea Röschmann is also a Countess par excellence, very mature and deep charismatic voice completed her great stage presence.”
    Michael Santosa, Opera Santosa, November 2015 

    “DOROTHEA RÖSCHMANN ist zu einer Gräfin allererster Güte gereift. Mit großer Linie und üppigem Timbre nimmt man ihr die Leidensfigur in jedem Moment ab.”

    “DOROTHEA RÖSCHMANN has matured into a countess of the very best kind, and with a grandiose and lush timbre, she takes away the painful figure at every moment.”
    Christian Konz, Der Neue Merker, 13 November 2015 

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    12 Jun 15 Mozart Don Giovanni
    The Royal Opera House, Covent Garden

    “Of the women it’s Dorothea Röschmann, singing and suffering wonderfully as Donna Elvira, who steals the honours. The German soprano is in glorious, sensuous voice.”
    Mark Valencia, What’s on Stage, 13 June 2015 

    “Of the women, it’s Dorothea Röschmann’s Elvira that seizes this limp production by the balls – urgent, desperate, at times exquisitely unlovely, deploying every vocal colour and quirk of phrasing with intent.”
    Alexandra Coghlan, The Arts Desk, 13 June 2015 

    “Albina Shagimuratova’s bright-toned Donna Anna and Dorothea Roschmann’ s ever-rejected Donna Elvira are wonderful performances.”
    Edward Bhesania, The Stage, 14 June 2015 

    “Dorothea Röschmann is a well known Donna Elvira, and her fervent, passionate style in both singing and acting is exceptionally suited to the role.”
    Melanie Eskenazi, Music OMH, 13 June 2015 

    “As Donna Elvira, Dorothea Röschmann approached the same pure sound quality, and went further in injecting character into the voice: I was completely convinced by Röschmann’s well-intentioned but despairing goodness.”
    ★★★★ David Karlin, Bachtrack, 17 June 2015 

    “The effect of this casting was to give a stronger sense of balance between Donna Anna and Donna Elvira, with Dorothea Roschmann bringing real dramatic intensity to Donna Elvira. Here really was an intense woman scorned, and in her arias she used every trick in the musico-dramatic book to give us a performance which as vivid in its portrayal.”
    Robert Hugill, Planet Hugill, 19 June 2015 

    “The most complete performance was the Elvira of Dorothea Röschmann. Fussy, proud and yet clearly vulnerable, this spurned ‘wife’ elicited both respect and sympathy on her first (slightly bedraggled) appearance, treading a fine line between brutalized victim and figure of fun. ‘Mi tradi’ was exemplary, with cascades of sound filling the auditorium and yet with the melodic runs very much under control.”
    Russ McDonald, Opera Magazine, August 2015

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    03 May 15 Recital - 3rd May 2015
    Wigmore Hall with Mitsuko Uchida

    “This lieder recital was the most rewarding I have heard for a long time, either in concert, or on record.”
    Geoff Diggines, Seen and Heard International, 6 May 2015 

    “The full velvet of the Röschmann sound, which seems to have grown of late but always had that compound of fast vibrato with luminous halo offsetting it, was unleashed in Berg’s Seven Early Songs”
    David Nice, The Arts Desk, 6th May 2015 

    “Röschmann conveyed excitement, contentment (a difficult task), joy, really everything for which she was asked. Once again, there was little distinction to make between the two parts: this was a true partnership, one I felt privileged to have heard.”
    Mark Berry, Boulezian Blogspot, 7 May 2015 

    “Röschmann seemed at once eminently comfortable with Schumann’s vocal writing and uncanny in her ability to make the utterer of Chamisso’s lines — the wholly self-sacrificing, husband-worshipping woman whom we may now find hard to recognise — a living, heartfelt presence. I was ever more moved, and sat tensely expectant when it came to the final song and that awesome (rather than awkward) jump from the bliss of childbirth to the tragedy of the husband’s loss. How would this be negotiated? Röschmann glowed in the darkness. Touchingly she cadenced on ‘Du meine Welt!’ (‘You, my world!’), and it fell to Uchida in that extraordinary piano postlude (a virtual bursting into speech) to draw the work’s torrent of emotions to a closing calm: the restored hope embodied in the last-minute return of the opening bars.”
    Paul Driver, The Sunday Times, 10 May 2015 

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    22 Apr 15 Recital - 22nd April 2015
    Carnegie Hall with Mitsuko Uchida

    “The two great artists seemed in total artistic synch and gave great pleasure, ending with two contrasting settings of Goethe’s ‘Mignon songs’ –– by Schubert and Wolf –– as sublime encores.”
    David Shengold, Gay City News, 29 April 2015 

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    19 Apr 15 Recital - 19th April 2015
    Spivey Hall with Mitsuko Uchida

    “Röschmann’s open-throated high register is grounded and downright remarkable; the high A in Berg’s third song ‘Die Nachtigall’ was blissfully resonant…Röschmann and Uchida proved to be ideal collaborators.”
    Stephanie Adrian, Arts Atlanta, 21 April 2015 

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    12 Apr 15 Purcell Dido and Aeneas
    Carnegie Hall

    “It was no surprise that Ms. Röschmann was also such an affecting Dido…Ms. Röschmann commanded the stage as Dido, especially in her nobly wrenching account of ‘Dido’s Lament’.”
    Anthony Tommasini, The New York Times, 13 April 2015 

    “But the afternoon belonged, let’s face it, to Röschmann. She is why we were all there, I think, on a sunny Sunday. Her first assignment was to sing the lament from The Fairy Queen, ‘O let me weep’. Dido has the big lament, of course—but this junior lament was kind of a warm-up. Röschmann sang as she typically does, although I can’t remember having heard her sing in English. She was in tune. She was unfaltering. She was beautiful of voice. She was understanding. She was expressive. She was ‘impactful’, as they say these days. (Too ugly a word to apply to Röschmann.) The plain truth is, she was pretty much perfect (and I say ‘pretty much’ as a reflexive hedge).
    I regard her as a historic singer, and singing musician.”
    Jay Nordlinger, The New Criterion, 13 April 2015 

    “Dorothea Röschmann offering us her whole soul and beating heart from the very first moment of the performance”
    Earwormopera Blog, 13 Apri 2015 

    “The afternoon’s success depended heavily on the excellent concertmistress [Dorothea Röschmann].”
    David Shengold, Gay City News, 29 April 2015 

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    18 Jan 15 Weber Der Freischütz
    Deutsche Oper, Berlin

    “In Agatha’s own big aria, ‘Leise, leise’ the soprano Dorothea Röschmann was superb on opening night Sunday, particularly in the final vivace section, sung with uninhibited passion yet also flawless accuracy.”
    George Loomis, The New York Times, 22 January 2015 

    “Dorothea Röschmann ist mit ihrem jugendlich-dramatischem Soprantimbre eine ergreifende Agathe.”
    Julia Spinola, Deutschlandfunk, 19 January 2015