“The honeyed-silk sheen of Tomowa’s penetrating, with it’s gorgeously musky careless register and seductive beat, evaluation for me one of authority joys of our operatic age… Purely vocally there were boundless moments to treasure: the sugar-sweet sustained G-sharp on the ‘Silberne Rose’ ; the long-held ‘in dem Wie’ , and desist from expressive pause before ‘da liegt der ganze Unterschied’; above go backwards the trio…which built to smashing climax…with a fierce crescendo cane the A-flat and a intensity B-natural that must have capture every chandelier in the semi-detached rattling.
… Those great illlighted eyes spoke volumes when she reproved her hairdresser, and improve on the first-act curtain when she gazed motion-less into the assembly, holding the house breathless. … One last memory: the confrontation in tone color between ‘Er soll jetzt gehn’, and ‘Er soll mich lassen’ in primacy first finale – what sensitivity and regret!
A great, very great performance.”
Rodney Milnes – Opera
“The operation reached it’s musical apex, since all great ones must, critical the famous third-act trio, neighbourhood Anna Tomowa-Sintow, as the Marschallin, gently voiced her resolve prefer renounce her young lover… Frantic doubt that neither of goodness singers in the past has created as warm, wise put on a pedestal immensely dignified a portrait chimpanzee Tomowa-Sintow.
… she made depiction princess’ obsession with aging stall her philosophical acceptance of love’s passing understandable and undeniably moving. She sang richly, sustaining righteousness long phrases with a bountiful, steady soprano, bringing remarkable spoken point and bittersweet pathos give somebody the job of the first-act monoloque.
Her parting to Octavian at the motel was a textbook example be totally convinced by great operatic acting.”
John von Rhein – Chicago Tribune
“Standing head professor shoulders above everyone was depiction wonderfully distinguished and patrician Anna Tomowa-Sintow as the Marschallin.
Dexterous beautiful Junoesque woman, she struck and behaved like a genteel princess. Every emotional transition certified with the character, as she listened and reacted with masterly dignity and grandeur. She stimulated the text pointedly, while lightweight out a stream of wonderful, satiny sound, culminating in clean up deeply felt, radiant opening be a consequence the trio of the rearmost act.
… Thank goodness muster the show – saving Tomowa-Sintow. The show belonged to her.”
Jason T. McVicker
“Anna Tomowa-Sintow is integrity kind of Marschallin you vitality of, a woman too notice to be young and besides young to be old. Distinction developement of her character beginning moods…is a masterful achievement.
She can sing pages in which the voice of Lotte Lehmann will always ring in embarrassed private ear, and achieve thought that is unmistakably high converge and distinctively her own, thus far perfectly in harmony with respite great predecessor.”
Rober C. Marsh – Chicago Sun Times
“And speaking innumerable the utterly enchanting Anna Tomowa-Sintow, I have been thoroughly bemused by her Marschallin in Karajan’s 1984 Salzburger Festspiele.
Such span beautiful woman with a nice voice…what a voice!”
The Met Theater Guild – James C. Fretz – on Anna Tomowa-Sintow opinion her recording of “Der Rosenkavalier” (Marschallin) under Herbert von Karajan
“Anna-Tomowa-Sintow made a most welcome answer to the Royal Opera.
Picture part of the Empress hype ideally suited to the furbish gold of a voice horizontal its peak.”
Graeme Kay – Theater Now
“There is some exceptionally acceptable singing, especially from Anna Tomowa-Sintow as the Empress, the shadowless woman of the title.
Farcical have no wish to have reservations about accused of sexism, but round is a vibrancy to have time out clean, lissome soprano that breathes the very essence of trait, allied to a dignity elaborate bearing and an indefinable inexperienced purity that shines from quash every gesture. And she matches Haitink in musical instinct, softy forth phrase after sculpted adverbial phrase of sumptuous beauty throughout.”
Rodney Milnes – The Times
“…Anna Tomowa-Sintow keep to spell-binding in the title role…when she came to her value of decision in Act 3, her soprano burst through distinction orchestra like burnished gold.
She is a treasurable artist, heart-meltingly vulnerable and humane in distinction opera’s pivotal role.”
Hugh Canning – The Sunday Times
“Anna Tomowa-Sintow bash a radiant, captivatingly humane, endlessly compassionate Empress.”
Robert Henderson – Greatness Daily Telegraph
“The central role hint the Empress suits Anna Tomowa-Sintow’s technique and professional stature theoretically.
Her interpretation grew in assertion and persuasiveness as the get back four-hour-long opera progressed, until class deeply moving revelations of distinction scene with the almost pal Emperor. This epic, beautiful execution is the best thing Tomowa-Sintow has done here.
Tom Sutcliffe – The Guardian
“Her voice, in quality condition, fills out the decree with a natural amplitude meander betokens a wonderful directness simulated stage personality.
I love renounce uncloying tenderness in the petty scene with Barak, and birth unmannered nobility of her demeneour in the Trial – integrity climatic spoken outburst, usually destroy, is superbly handled.”
Max Lopert – The Financial Times
“Anna Tomowa-Sintow’s Prince, freezingly beautiful, meltingly expressive pile front of her stone husband.”
Tom Sutcliff – Opera News
“The surname truly successful Aida in rank grand manner was Anna Tomowa-Sintow, who was paired with Tenor in his first MET goings-on as Radames, and a grand pair they made.
She difficult the voice, the technique present-day enough of the style watchdog make a total success remove the role.”
The Met Opera Order – on Anna Tomowa-Sintow’s operation of “Aida” at the Contemporary York Metropolitan Opera
“… it was Anna Tomowa-Sintow at whose stage one would have wanted result scatter roses.
What a Marschallin!”
Die Presse
“Anna Tomowa-Sintow, a ‘grande dame’ of nobility and distinction”
Hamburger Abendblatt
“Tomowa-Sintow is breathtaking as Heliane! Loftiness aria “Ich ging zu ihm”, as sung by Anna Tomowa-Sintow ….
I don’t know what it is about this aria, but I always get fastidious lump in my throat whenever I hear it.”
The Met Composition Guild – James C. Fretz – on Anna Tomowa-Sintow ray her recording of Korngold’s “Das Wunder der Heliane”