SUSAN OWEN SOPRAN

DIE WALKÜRE

KLASSIK Magazine October 22, 2007 (Martin Andris):
Susan Owen's role is a magnificent success, her Brünnhilde, through her tender articulation
and positive charisma,
draws to her the listener's sympathy and with this method,
highlights a central and timeless aspect of the libretto.

German Classical Magazine pizzicato  12/2007
(RéF):
The best performance is again by Susan Owen, whose Brünnhilde is dramatically and vocally convincing.

The Classical Music recording magazine STEREOPLAY 01/2008 (Miquel Cabruja):
Susan Owen as Brünnhilde is the star of this performance (live recording).

Der Neue Merker, Vienna Opera magazine (Dirk Altenaer):
Another highlight is the Brünnhilde of the American soprano, Susan Owen, who proves here in the zenith (peak) of her career,
that her interpretation compared with other current recordings is found unrivaled.
Listen only to the flawless, perfectly focused "battle cry" (Hojotoho) with flourishing cadenza;
which singer of our time is able to sing this so effortlessly?

OPERA  Magazine, London / Oct.2003   Liège /Belgium

Die Walküre

The production must have been put on a knife-edge of nervousness by the withdrawal of Jean-Philippe Lafont from his first Walküre Wotan a
fortnight before the opening. Luckily James Morris was free and rode in at a few days' notice to save the show. His Met-sized tone was often
overwhelming in so small a theatre, especially as he was singing from where the pit should be; but he launched an engrossing account of the
Narration an a wisp of Sound. His freedom of rhythm in the Farewell matched that of the conductor, but they managed more or less to keep
together, and his marvellous breath control told at the very end - one long line and no breath before the final 'nie'. The Texan soprano Susan Owen,
a Hochdramatische busy in German houses, was a powerful Brünnhilde, singing at the same level of intensity for much of the time but with great stamina
and with all the notes securely in her voice, more so than her colleagues at ENO and Scottish Opera.
                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                RODNEY MILNES

Orpheus International May, 2001 written by Geerd Heinsen:     

Elektra  Performance March 15 & 23, and June 2001 at Staatsoper Hannover

"Susan Owen’s Elektra is astounding. One seeks today a voice that compares to hers in its healthy, powerful, and diction-wise perfection
and above all the youthful character embodiment of this role – I cannot think of another singer of her caliber who sings this role,
who brings so many qualities, so much understanding of the text and so much vocal strength along with beauty of tone."

Frankfurter Allgemeiner Zeitung  January 3, 2001 written by Ellen Kohlhaas:    

Brünnhilde "Die Walkuere"  at Staatstheater Darmstadt

„Susan Owen creates with the first perfectly sung mighty „Hojotoho!" a Brünnhilde who not only tireless is, but also one who
achieves colorful nuances of sound and character. The standing ovation and jubilation from the audience were well deserved."

 

Orpheus International November, 2001 written by Sebastian Sternberg:                

Brünnhilde "Götterdämmerung" CD  Live Recording

"The American soprano throws herself into the part with power, passion and fire,
perfect diction and a knowledge of what she is singing. An ideal "Wotanstochter" !
Her dark timbered voice has an almost erotic effect."

 

Dresdener Neueste Nachrichten September, 2001 written by Eberhard Kremtz:    

Färberin "Die Frau ohne Schatten" at Semperoper Dresden

„Susan Owen was more than convincing. Stylistically sure and with a well-considered character portrayal, she brought,
as Barak’s Wife her radiant vocal power wonderfully to validity."

Main Echo January 3, 2001 written by Ralph P. Ziegler:    

Brünnhilde "Die Walkuere" at Staatstheater Darmstadt

„Susan Owen, celebrated Isolde and Elektra in Darmstadt in past seasons, sang Brünnhilde splendidly with eloquence,
brilliance and radiant power ... standing ovations."

Orpheus International September 30,2000 written by Thomas Tillmann:

Isolde "Tristan und Isolde" at Staatstheater Darmstadt

"Before the applause broke out at the end of this premiere, an enthusiastic fan shouted „Brava Owen!" : evidence again that
Susan Owen is an interpreter "par excellence" of Wagner roles. Her debut as a noble Isolde created not only a commanding
presence, but also a youthful romantic character with subtle tones. Her voice encompasses a penetrating, unforced lower register,
a rich middle register and a supple, powerful high register that all brilliantly combine. She demonstrates a musically satisfying use
of the text and thorough enjoyment of the lyrical passages without having to "cash in" with the dramatic climaxes."
 

Opernwelt September, 1999 written by Dieter David Scholz:

Brünnhilde "Siegfried"  CD Live Recording 

„Susan Owen’s Brünnhilde is a real „Hochdramatische". With a large voice, precise phrasing,
great diction and a rare seriousness in penetrating this role;
she sings a Brünnhilde like one seldom hears today."

 

Opernglas  July-August, 1999 written by Dr. Stefan Mauss :

Brünnhilde "Götterdämmerung"   -  Premiere  Staatstheater Kassel

„The performance level of the singers was gratifyingly high, as in the previous „Ring" evenings. Susan Owen revived
an extraordinary, vocally strong Bruennhilde. Far and wide larger opera houses would be envious of this „Wotanstochter" in Kassel."

Orpheus International  October, 1999 written by Thomas Tillmann:

Brünnhilde "Die Walküre"  June 20, 1999 Oper Bonn

„At the center of the performance stood Susan Owen. She was in the title role not only thrilling with totally secure
shining high notes, but also, thank her well-trained capable middle and lower registers, here too convincing.
Especially important to point out are her model declaration of the text and her unceasing endeavor to interact on stage with her partners."

 

Goettinger Tageblatt May 19, 1999 written by Bernd Stopka:

Brünnhilde "Götterdämmerung"   -  Premiere Staatstheater Kassel

„Susan Owen made a sensational Debut. This Brünnhilde lived in every tone of her colorful, blooming, powerful voice.
She moved and gladened the hearts of the audience without artificialness. Ovations!"

 

Opernwelt  November, 1998 written by Klaus Kirchberg:

Brünnhilde     "Siegfried"    -   Premiere    Staatstheater Kassel

„Susan Owen is a magnificent Brünnhilde, with flourishing vocal phrasing and sensitive formulation of musical details.
Not often has the final duet in the Third Act had such a wealth of color and nuance."

Orpheus International  November, 1998 written by Geerd Heinsen:

Elektra at the Trier Antikenfestspiele 1998

„Had Hildegard Behrens at the Premiere showed her resources, now it was the young American soprano Susan Owen,
with a fantastic, brilliant, purposeful, and absolutely understandable-text-articulate, exceptional voice who delivered the
„Atriden-daughter". In a thrilling, as well as moving marathon she drew the audience - without interruption, weaknesses
or giving in - through her spell, and was simply the tortured creature that she interpreted - a great achievement - a wonderful voice."

 

General - Anzeiger Bonn September 8, 1998 written by Bernhard Hartmann:

Brünnhilde  "Die Walküre" - Premiere Oper Bonn

„She masters the strength-consuming hochdramatisch outbursts brilliantly and in the great „Abschieds-Szene"
she accomplished a moving definition of the heroic."

 

Darmstädter Echo April 6, 1998 written by Heinz Zietsch:

Elektra    Premiere - Staatstheater Darmstadt

„A great, impressive Opera Evening...the audience applauded with enthusiasm, even with a standing ovation....
how uncommonly clear Susan Owen in the title role articulated the words, how she unceasingly fulfilled every
musical nuance, with highest interpretive action, with no trace of fatigue. A fantastic voice, that effortlessly
manages every extreme tessatura, as well as her multi-faceted interpretive palate....overwhelming applause..."

 

Frankfurter Rundschau April 9, 1998 written by Heinz-Harald Loehlein:

Elektra   Premiere - Staatstheater Darmstadt

„From Susan Owen in the Title-role came a strong, impulsive force and a vocal shining beam, „Bruennhilde-like";
a father’s-daughter, loving but in despair."

 

Hessisch Nieders. Allgemeine Zeitung December 12, 1997 written by Siegfried Weyh:

Brünnhilde  "Die Walküre" - Premiere Staatstheater Kassel

„Susan Owen in the title role impressed and inspired now with a daring, marvelous, young Brünnhilde voice,
blended with a mature, individualized performing style."

 

Back to: Two Opera Artists