Emily Hindrichs

Lanzelot, Deutsches Nationaltheater Weimar

„atemraubend virtuos: Emily Hindrichs“ Opernwelt 

„Die Protagonisten sind stimmlich bis in extremste Lagen gefordert. Emily Hindrichs (Elsa, das Drachenopfer) nahm sich ihrer Aufgabe mit vokaler Inbrunst an, musste ihren Sopran bis in die höchsten Regionen im Dauer-Forte bis an die Grenzen ausloten. Das gelang ihr mit vorbildlicher Kontrolle.“ Das Opernglas

„Das Ensemble und die Chöre überzeugen durchweg – von den 30 Solopartien müssen unbedingt Emily Hindrichs (Elsa) […] und Oleksandr Pushniak (Drache) genannt werden.“ orpheus

„Mit immensem vokalem wie auch darstellerischem Einfühlungsvermögen in die Rolle der Elsa vermochte Emily Hindrichs vollauf zu überzeugen. Sie erfüllte die extrem hoch liegende Sopranpartie mit intensivem Leben.“ Der neue Merker

„Elsa, Emily Hindrichs, die ihre Stimme makellos von unheimlichen Höhen in noch unheimlichere Höhen schraubt“ Frankfurter Rundschau

„Máté Sólyom-Nagy und Emily Hindrichs sind ein tolles Paar, bei dem man zudem jedes Wort versteht; sie entflieht ihrer Umgebung in die gleißenden Höhen ihrer Stimme“ SZ

„Die hohe-Sopran-Partie führt in stratosphärische Höhen, und die meistert Emily Hindrichs (zu Gast von der Oper Köln, wo sie fantastisch die Marie in Zimmermanns „Soldaten“ singt) bravourös. Die Partie ist so hoch geschrieben, damit nur ja kein Schönklang aufkommt, denn der Gesang soll ja ausdrücken, dass Elsa sich in auswegloser Not befindet. Erstaunlich, wie textverständlich Emily Hindrichs das meist noch singt. Gleichwohl hat Dessau ihr dann leise und schöne Töne geschrieben, wenn sie in Lanzelot den Mann gefunden hat, der sie aus diesem Volk von Heuchlern herausholt. Dann klingt die Musik zwölftönig und atonal, wie befreites Gebiet.“ Klassikinfo

„Es ist aussichtslos, die Gesamtleistungen des Ensembles auch nur annährend in diesen Zeilen angemessen würdigen zu können. Hervorgehoben sei die Elsa der Emily Hindrichs, die die mit fortwährend extremen Spitzentönen ausgestattete Partie mit Bravour und stimmlicher Ausdauer meistert.“ Opera Online

„die gigantischen Intervallsprünge und Tonhöhen der verzweifelten Jungfrau Elsa, die dennoch lyrisch-kantabel sein muss – sensationell virtuos gesungen von Emily Hindrichs – sind musikalische Charakterstudien“ FAZ

„Die 30 Solopartien kann man nicht alle nennen. Unbedingt aber müssen Emily Hindrichs als Elsa und […] Oleksandr Pushniak als Drache […] erwähnt werden.“ nmz

„Emily Hindrichs singt die extrem hohe Partie der Elsa leuchtend, virtuos und dabei textverständlich“ mdr

Street Scene, Oper Köln

„Auch Emily Hindrichs als Tochter Rose überzeugt auf voller Linie“ orpheus

"All in all, you can attest a high vocal quality of the production, with the particularly difficult parts [... like the] daughter Rose being almost perfectly filled with Emily Hindrichs." Aachener Nachrichten

"Also EMILY HINDRICHS completely convinces as daughter Rose." Der Opernfreund

"She is assisted by Emily Hindrichs as daughter Rose Maurrant. She also presents an excellent interpretation of her role. Tender, torn between family and life elsewhere, between love and obedience, she vocally shows once again what a stroke of luck she is for the Cologne ensemble.” Sebastian Jacobs

Il matrimonio segreto, Oper Köln

“Ensemble member Emily Hindrichs received in the premiere applause for the coloratura-rich revenge aria of the Elisetta.“ Klassik.com

“After ‘Marie’ in Zimmermann's 'Soldiers', Emily Hindrichs seems to be recovering with her 'bad' Elisetta: a nasty girl with erotic deficiencies, great not least because of her scene in Act II with Mozart's Marten aria that can hardly be outdone regarding coloratura difficulties“ Online Merker

“...While the chronically offended Elisetta (Emily Hindrichs) is sometimes giving her impeccably fitting coloratura a suffering timbre.“ General Anzeiger

Die Soldaten, Oper Köln

"The singer performances can be described as magnificent: Emily Hindrichs masters the horrendous demands that the role of Marie represents with great Aplomb." Martin Freitag

"Within the large number of excellent soloists, the singers of the larger roles should be  mentioned here: Before anyone, Emily Hindrichs should be mentioned for her role of Marie. With her crystal-clear soprano, she masters all the pitfalls of the Zimmermann score. The heights fit perfectly, the diction is impeccable and of the highest accuracy and with great charisma she stands up to the monstrous orchestra. Heartbreaking, she plays the deep fall of a young woman who bloodstained and abused, from the doll-like little mouse became a tortured whore and finally crawls on all fours around the audience." Sebastian Jacobs

„Emily Hindrichs is a phenomenal Marie of extraordinary vocal presence. Powerful and expressive.“ Online Musik Magazin

„Among the difficult vocal roles, the American soprano Emily Hindrichs had to master the most demanding one. She did so with a confidence that astonished, and hit the right note between a good girl and a woman hungry for love and life.“ Das Opernglas

„Das Gürzenich-Orchester überzeugt ohne Abstriche, die Solisten übertreffen alle Erwartungen: Emily Hindrichs (Marie) ist stimmlich überragend. Überdies spielt sie das leichtsinnig, dann echt verliebte, bald aufdringlich putzsüchtige und schließlich verelendete Mädchen mit eindringlicher Konsequenz.“ Kreiszeitung

„The soprano Emily Hindrichs impresses and moves as Marie.“ Generalanzeiger Bonn

„…playfully, carefree Emily Hindrichs as Marie“ WDR

„With strong personality, Emily Hindrichs characterizes the center role of the opera, the girl Marie, at first still adolescent indecisive, then painfully suffering her whore destiny; first-class singing.“ Der neue Merker

„Emily Hindrichs (Marie) sang vocally and played the snippy, reckless, then really in love, now pushy and ultimately pauperized girl with a forceful consequence.“ Klassik.com

„Emily Hindrichs shone with effortless height, under the skin going depth and tragic timbre as falling Marie“ Neue Westphälische

Carmina Burana, Oper Köln

„Emily Hindrichs designs the finely nuanced and it goes to the heart. And the "Dulcissime" coloraturas turned into heavenly sweet heights.“ General Anzeiger Bonn

Candide, Oper Köln

„Not only does Emily Hindrichs excite in the virtuoso, coloratura-rich aria 'Glitter And Be Gay' as Cunegonde.“ Kölnische Rundschau

„[Emily] Hindrichs scores as a Cunegonde with a clear soprano, which she can prove especially in her famous aria ,Glitter and be gay'. Here, Hindrichs fascinates with clean set coloraturas and in the first part of the aria convincingly meets the melancholy mood, which she resumes at the end of the aria with heartbreaking lamentation.“ Online Musik Magazin

Tree of Codes, Oper Köln

„The soprano Emily Hindrichs fulfills the role of the object of desire with wonderfully relaxed singing, which can have something quite smoky-lascivious, but always remains almost seductively beautiful.“ Die Deutsche Bühne

„Emily Hindrichs in the lead Adele [...] is perfectly casted regarding vocals.“ WDR3

„As clear as a bell and sung with impressively clear height by Emily Hindrichs.“  Online Musik Magazin

Riccardo Primo, Händel-Festspiele Karlsruhe

“Emily Hindrichs has a lot to do as Costanza, […] nine airs plus the beautiful duet ‘T’amo, sì’ together with Fagioli in the 2nd act. This duet can barely be beaten in its dearly expression. Emily Hindrichs is the discover of the evening. A tender, innocent aura, dazzling appearance, perfectly subtly nuanced chant phrases are the trademarks of this young soprano.” Opernnetz.de

“How the voices of Fagioli and Hindrichs, the two highly acclaimed stars of the evening, come together, phrase together their melodies, that’s really phenomenal. The audience in Karlsruhe can be very happy with this Costanza, who is brought to life and to love by a flawless, extremely moveable soprano voice, that one now can see more often here: since the beginning of this season, Emily Hindrichs is a member of the ensemble in Karlsruhe.” BNN

“With impeccable melodic lines and fine tonality, Emily Hindrichs draws the desperation of Costanza, who is caught in Isacio’s palace.” Badisches Tagblatt

“Emily Hindrichs as Costaza sings with brilliant decorative figures and the most tender expression.“ Die Rheinpfalz

“The American soprano Emily Hindrichs shows finest intonation during the very good understandable recitatives, pin-sharp coloraturas and with crystal clear, slim heights an elegant virtuosity that seemed completely effortless. Since her jump-in as Queen of the Night 2012 in Chicago, she quickly gained international reputation.” Opernfreund

“In a homogene soloists ensemble, Emily Hindrichs was the most sparkling one amongst the two women. She interpreted Riccardo’s bride, Costanza, with exquisitely timbre in her soprano of enormous flexibility, captivatingly beautiful sound, subtly nuanced facets in her voice, extremely convincing registers and wonderful upswings. In addition, the singer dazzled with the charm of a decent scala of exression. With variable melodies, Costanza and Riccardo confess countless times their love with ‘T’amo, sì’ in the finale of the 2nd act – this is the possibly most beautifully composed duet that Haendels has ever written.” Der neue Merker

“Hindrichs shapes the part of Costanza with her soft soprano, that emphasizes the deep sensibility of this character. She succeded in a great way in the musical bows and the piano passages, in which the deep distress of Costanza is expressed.” Online Musik Magazin

“The scenic and physical concept of the production works out perfectly with the highly acclaimed counter tenor Franco Fagioli in the title role and the smoothly acting soprano Emily Hindrichs as his bride Costanza, with her fascinating, elegant soprano-timbre.”
Mannheimer Morgen

“Great was also the young soprano Emily Hindrichs, who gave Costanza with sutbly savoured pianissimi the necessary sensitivity.” Opernwelt

"Handel wrote the opera for three of the greatest singers of his time, and a set that requires singers to advance to the footlights if they are to be seen at all gives every chance for vocal display. Here, Karlsruhe has done several things very right...As his faithful Constanza, ensemble member Emily Hindrichs makes a fine match, with just the translucent, otherworldly sweetness the part demands." Financial Times

Die Zauberflöte, Badisches Staatstheater Karlsruhe

"Emily Hindrichs, who was the Queen of the Night, made a wonderful debut in this role in Karlsruhe, big compliment! Her acting is adorable and with her immaculate voice, which easily reaches also the highest notes and manages the most difficult coloraturas [...]." Der neue Merker

Benvenuto Cellini, Oper Köln

"Emily Hindrichs is a very svelte, subtly nuanced Teresa" Die Deutsche Bühne

"Teresa that Emily Hindrichs gave an elegant soprano." Frankfurter Rundschau

"Also the beloved of Cellini, Teresa (Emily Hindrichs) [...] perfectly casted." Deutschlandradio Kultur

"Emily Hindrichs sang Teresa with a sublime sense of style and accuracy." Neue Zürcher Zeitung

"As Teresa, Emily Hindrichs makes her bright soprano shine and sparkle." Klassikinfo.de

"Emily Hindrichs as Teresa sings the lyrical cantilena very beautiful and expressive." Frankfurter Rundschau

Der Rosenkavalier, Badisches Staatstheater Karlsruhe

"Emily Hindrichs has a pure voice, who is easily going until the highest notes and has a wonderful timbre, an enchanting Sophie [...]." BNN

Falstaff, Badisches Staatstheater Karlsruhe

"Emily Hindrichs is a Nanetta, who perfectly combines grace and jovial mood and excxells with exquisite vocal lines." Rheinpfalz

Die Zauberflöte, Chicago Opera Theater

“As the Queen of the Night Emily Hindrichs was magnificent Saturday. She tackled her two arias with rich tone, terrific verve and fearless bravura, nailing the stratospheric top F’s with bracing attacks and pinpoint accuracy, earning the loudest ovation of the evening.” Chicagoclassicalreview.com

“And the Queen of the Knight, Louisiana native Emily Hindrichs — despite being a late-game replacement — can sing and act, and knocks the witch’s boots off of anyone heard at Lyric in a long, long time. […] Hindrichs eats her two stratospheric numbers like toast and she also gives us a Queen of the Night who makes sense as a character and even draws our sympathy.” Suntimes.com

“As the Queen of the Night, soprano Emily Hindrichs nailed her first aria, later bringing down the house with her brilliant account of her Act 2 showpiece. Her coloratura flashed like a tiara of fine-cut diamonds.” Chicagotribune.com

Un ballo in maschera, Badisches Staatstheater Karlsruhe

„With virtuosic coloraturas, wonderful timbre and a very lively play, Emily Hindrichs set impressing priorities as Page Oscar.” Der neue Merker

„Emily Hindrichs’ Oscar is as good as I have heard anywhere. Her flexible voice had thrust and clarity, and her vocalization and dramatic commitment were far and away more substantial than the often-encountered chirpy throw-away presentation. An impressive vocal accomplishment indeed.” Operatoday.com

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