Emily Hindrichs

Carmina Burana, Oper Köln

„Emily Hindrichs gestaltet [ihr Solo 'In truitina'] fein nuanciert und zu Herzen gehend. Und die 'Dulcissime'-Koloraturen drehten sich in himmlisch süße Höhen.“ General Anzeiger Bonn

Candide, Oper Köln

„Emily Hindrichs begeistert nicht nur in der virtuosen, koloraturreichen Arie ‚Glitter And Be Gay‘ als Cunegonde.“ Kölnische Rundschau

„[Emily] Hindrichs punktet als Cunegonde mit klarem Sopran, den sie vor allem in ihrer berühmten Arie ‚Glitter and be gay‘ unter Beweis stellen kann. Hier begeistert Hindrichs mit sauber angesetzten Koloraturen und trifft auch im ersten Teil der Arie überzeugend die melancholische Stimmung, die sie am Ende der Arie mit herzzerreißender Wehklage wieder aufnimmt.“ Online Musik Magazin

Tree of Codes, Oper Köln

„Die Sopranistin Emily Hindrichs erfüllt die Rolle des Objekts der Begierde mit wunderbar entspanntem Gesang, der durchaus rauchig-laszives haben kann, aber immer fast verführerisch schön bleibt.“ Die Deutsche Bühne

„Emily Hindrichs in der Hauptrolle Adele […] stimmlich super besetzt.“ WDR3

„glockenhell und mit bestechend klarer Höhe von Emily Hindrichs gesungen“  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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