Daniela Köhler
| The Flying Dutchman Komische Oper Berlin 2022 More expressionistic than usual. What is difficult about the "Flying Dutchman" are above all the two killer title roles. Daniela Köhler - she sings Brünnhilde in Bayreuth next year - has ladylike bel canto screams in her lapel for Senta. True heart-stopping tones, the likes of which I have never experienced with any singer of the Senta. Kai Luehrs-Kaiser, rbbKultur But there is one really alarming dead spot, and that is Senta. Fritsch has come up with nothing for her. Daniela Köhler sings her impressively, with top notes like laser beams, the ballad with terrific force. But singing and scenic appearance are not connected as in the Dutchman or Sven Larsen's rumbling Daland. Is this a girl or a woman, is she as the captain's daughter only better dressed than the spinners or an outsider, is she crazy or lucid? One does not know. BZ (Berliner Zeitung) Daniela Köhler's luminous soprano, which retains its effortless lightness even in the love duet with the Dutchman, the beautiful irony, the self-indulgence and the joy of playing with which the singer endows her Senta, are a joy. No wonder the Dutchman immediately falls in love with her: that love promises salvation from eternal damnation is immediately obvious here. Even the tragic death of the two lovers, typical of Wagner, cannot be taken entirely seriously by Fritsch, who prefers to give them a beautiful exit and, at the finale, lets their shining wedding dresses float up into the stage sky or into infinity. Peter Laudenbach Süddeutsche Zeitung Günter Papendell delivers a real masterpiece with this Dutchman zombie. But Daniela Köhler is also a Senta of outstanding vocal and acting conviction. Joachim Lange Dresdner Neue Nachrichten One notices particularly clearly what Papendell is missing when Daniela Köhler joins the cast as Senta: for this is a singer who, with youthful radiance, has no trouble conveying the dramatic nature of the role, but can otherwise withdraw her voice to sing in parlando or very delicately. Which has maximum effect in the intimate acoustics of the house. [] Even where some highly dramatic singers run out of steam at the end, she hurls her "Treu bis in den Tod" into the hall with a jubilant tone that one can only wish for in one's most beautiful Wagnerian dreams. Dr. Kevin Clarke KLASSIK.com Günter Papendell in the title role, for example, is an exceptional performer with an extremely cultivated, almost boundless baritone and erotic timbre. No wonder Senta falls for him! Daniela Köhler makes her look wonderfully radiant and obsessively smiling, and if you can't see it, you can hear it: Her glowing soprano goes right to the heart, stretches the bows wide, and sometimes swooshes down with determination. Nothing can stop this woman! Georg Kasch Nachtkritk.de As Senta, Daniela Köhler reaps storms of enthusiasm with her radiant, powerful soprano and wonderful grimaces. BZ Culture Player of the evening: Without question Daniela Köhler (Senta) - big, strong, varied voice and in her performance the wit and madness necessary for this role. Brava. Peter Huth Die Welt The men all have a bang, and so do the women. The only sane one is Senta, the redeemer, who falls in love, well, first with a painting of the Dutchman and then with the Dutchman himself. Daniela Köhler sings Senta with steely determination in the soprano, and when her dirndl is emblazoned on the stage firmament next to the Dutchman's frock coat at the end, the two lovers have either escaped into cosmic expanses or are making a nice life for themselves out on Behrenstraße. Christine Lemke-Matwey Die Zeit Daniela Köhler's Senta dominates both vocally and physically; there is little to counter this sacrificial rage. Kai Köhler Die junge Welt Die Walküre Zurich 2022 Tomasz Konieczny overwhelmed, even shook us with this tremendous performance. Daniela Köhler also achieved this as Sieglinde. Together with Eric Cutler, the pair of twins swept us into an ecstatic and erotic maelstrom of emotions in the first act; she showed herself to be the defiant, courageous consort of Hunding. The narration "Der Männer Sippe sass hier im Saal" and the upswing "Du bist der Lenz" were marked by luminous beauty. And with her gratitude to Brünnhilde in the third act, this so wonderfully trumpeting "Oh hehrstes Wunder", she had finally sung her way into our hearts. Opera aktuell Conductor Noseda, it seems, has a personal favourite motif in the "Walküre". It appears very soon in the first act and then finds its final form in Sieglinde's ecstatic love song "Du bist der Lenz!". This Lenz motif haunts the entire performance and even appears in places where one would never have suspected it. Here it becomes the bearer of hope for a better world, the seed of a new generation whose hero will be called Siegfried. With Noseda and Homoki, his development corresponds with Sieglinde's inner and outer liberation: Daniela Köhler, with her large, radiant voice, goes through a life experience in fast motion that Brünnhilde - spread over two operas - has yet to undergo. At first a haggard, somewhat elderly woman with a severe hairstyle, she goes through a process of rejuvenation in which she also blossoms more and more vocally and, together with the young man from the forest, gets into a playful dance of joy and courtship. FAZ Lotte Thaler, Zurich From her first appearance in Hunding's house to her change of heart from a death wish to a life wish, Daniela Köhler is a touching, crystal-clear Sieglinde, sure of her high notes. Tagesanzeiger Peter König Camilla Nylund feels her way into the role of Brünnhilde, singing it beautifully and expressively like an evening song. Daniela Köhler (Sieglinde), on the other hand, no risk is too great not to be ventured and rewarded. Tagblatt Christian Berzins Tomasz Konieczny overwhelmed, even shook us with this tremendous performance. Daniela Köhler also achieved this as Sieglinde. Together with Eric Cutler, the pair of twins swept us into an ecstatic and erotic maelstrom of emotions in the first act; she showed herself to be the defiant, courageous consort of Hunding. The narration "Der Männer Sippe sass hier im Saal" and the upswing "Du bist der Lenz" were marked by luminous beauty. And with her thanks to Brünnhilde in the third act, this so splendidly trumpeting "Oh hehrstes Wunder", she had finally sung her way into our hearts. Oper aktuell Kaspar Sannemann The singers were superlative across the board. Iowa-born Eric Cutler, new to the role and the house, was a revelation. A rich voice, intonation and diction spot on. His cries of 'Wälse! Wälse!' were suitable and piercing. Daniela Köhler was a most impressive Sieglinde; not surprised to read that she has sung Brünnhilde in Leipzig and Bayreuth. Sean and Heard International John Rohdes The singers were invariably superb. As Siegmund, Eric Cutler sang a stunning role debut, and Daniela Köhler was no less a convincing and coquettish Sieglinde. bachtrack Sarah Batschele She [Daniela Köhler] knows how to give eloquent expression to Sieglinde's contradictory feelings: on the one hand the defiant rebellion against her husband against her will, whom she puts out of action with a sleeping draught, and on the other hand the ecstatic recognition in the double sense! of brother and beloved. But also, in the third act, the abrupt change of heart when she becomes aware of her dignity and task as Siegfried's mother-to-be. Smoke signal Bruno Rauch Daniela Köhler also interpreted Sieglinde with almost inexhaustible reserves of strength, whereby the great narrative of the first act and Sieglinde's despair as she flees from the duel were haunting testimonies to great vocal artistry. Opera Gazet Marco Aranowicz It may seem that Wotan is the ruler of events when he brings the twins Sieglinde and Siegmund together in the storm. Ultimately, winning the Ring has not made him the ruler of the world. The women around him are too strong. On the one hand, there is Fricka, who wants revenge as a wife repeatedly betrayed by her husband. [...] But Sieglinde is also anything but a well-behaved housewife who mixes her husband a soothing nightcap. The reencounter with Siegmund strengthens her will for incest, escape and finally also fleeing from the furious Wotan to give birth to the next "hero". The Bayreuth-tested Daniela Köhler is a full-blooded, highly emotional Sieglinde, whom one could also imagine as Brünnhilde. Drehpunkt Kultur Die Salzburger Kulturzeitung im Internet Oliver Schneider Siegfried Bayreuther Festspiele 2022 "Daniela Köhler sang brightly in the short but daunting Brünnhilde part in "Siegfried"... . "Zachary Woolfe, The New York Times "Daniela Köhler, Bayreuth debutante, sings Brünnhilde with assured height, soulful warmth and wide-swinging musicality. " Wolfgang Schreiber, Süddeutsche Zeitung "Daniela Köhler is a Brünnhilde with a slender brilliant voice. "Judith von Sternburg, Frankfurter Rundschau "Daniela Köhler's sometimes shimmering, sometimes radiant soprano is convincing. "Christiane Peitz, Tagesspiegel "In sound and appearance, Daniela Köhler is indeed a younger Brünnhilde than Iréne Theorin: with a noticeable dash of Hildegard Behrens in her timbre, she sounds more vulnerable... "Walter Weidringer, Abendzeitung Munich "Strong singers are (once again) Okka von der Damerau as Erda and Daniela Köhler, who with her fine voice leading and clear diction as "Siegfried"-Brünnhilde " Susanne Benda, Stuttgarter Zeitung "Equally acclaimed and artistically stunning is soprano Daniela Köhler [...] Köhler's forte is expansive, in the treble with a pleasant touch of metal. The voice harmonises wonderfully with Andreas Schager, and their final duet is a whoop of joy perhaps only to be experienced in Bayreuth." Meisenberger von Reim, Mittelbayerische Nachrichten "It is striking that the audience clings to the singers in this "Ring", hoping and cheering: Daniela Köhler was then also a radiant, soprano-flooding singing Brünnhilde... "Jürgen Kanold, Heidenheimer Zeitung "... Daniela Köhler's blossoming Brünnhilde... . "Monika Beer, Fränkischer Tag "The surprise of the evening is ... Daniela Köhler's Brünnhilde. This is a really very, very beautiful voice. Supple, also very secure in the high register. And it's not that Wagnerian screaming either. It's actually very beautiful in the last act with Siegfried." Bernd Künzig, SWR 2 (transcript of audio contribution) "The brilliant Daniela Köhler as Brünnhilde unfortunately only gave a guest performance" Peter Jungblut, BR24 "... his [Andreas Schager's] Siegfried was a delight, especially as Daniela Köhler was also the Brünnhilde that exactly matched it." Roberto Becker, Die Deutsche Bühne "... the new Brünnhilde, Daniela Köhler, radiated with fines." Paul Selar, Limelight Magazine "In Daniela Köhler he is opposed by an intensely and splendidly luminous singing Brünnhilde, who fleshes out her part in a differentiated way..." Stefan Schmöe, OMM "But wait, there was something. That's right, it's Brünnhilde who taught him to fear her. And Daniela Köhler is the only one who has something to offer Schager vocally. The mighty awakening of the bride - a welcome change of direction after the rather unspectacular thunder-golf in Rheingold - is followed by a triumphant performance by the young soprano. Wotan has deprived her of her divinity, he cannot deprive her of her godlike voice. Everyone is just swept away by this singing... "Peter Walter, Klassik Begeistert "An important discovery is Daniela Köhler as Brünnhilde. With beautiful melting, she makes her delayed devotion believable, as the divine has yet to fall away from her." Frideon Rosén, Online Merker "Et ce chant d'amour, porté par la voix magnifique de Daniela Köhler, timbre vermeil, ligne claire, ferme, ample, projetée sans effort, se déploie sublimement, telle une aurore boréale, celle de l'espoir en un monde sans doute moins élevé que celui des dieux mais totalement incarné dans cette force que confère l'amour. C'est beau, frémissant, c'est l'émotion pure." ("And this love song, carried by Daniela Köhler's wonderful voice with its vermilion timbre and clear, firm, full, effortlessly projected line, unfolds sublimely like a northern light, that of hope for a world undoubtedly less grand than that of the gods, but totally embodied in the force that love gives. It is beautiful, quivering, pure emotion"). Alain Duault, Opera Online "Peu à peu, celui-ci réussit pourtant à dérouler les pansements qui recouvrent le visage de Brünnhilde, splendide Daniela Köhler qui, dès qu'elle chante, magnifie une soirée que lecteur aura devinée plombante. Grand soprano dramatique, l'artiste mêle les fulgurances nécessaires à un phrasé hardi, favorisé par un valeureux legato. Par ces gosiers vaillants, le duo amoureux - et néanmoins toujours incestueux à plusieurs degrés de parenté - est LE grand moment de ce Siegfried, dont Cornelius Meister magnifie la sensualité instrumentale." ("Gradually, however, he (Siegfried) succeeds in loosening the bandages covering the face of Brünnhilde, the beautiful Daniela Köhler, who, as soon as she sings, ennobles an evening that the audience had thought leaden. A superb dramatic soprano, she mixes the necessary glow with bold phrasing, abetted by a fine legato. The amorous duet of these singing heroes is [...]THE climax of this SIEGRIED, whose instrumental sensuality is underlined by Cornelius Meister.") Bertrand Bolognesi, Anaclase Siegfried Leipzig Der neue Merker online And finally Daniela Köhler as the strong-voiced Brünnhilde. A singer with charisma, who also mastered all the dreaded final top notes without difficulty. opera magazine Daniela Köhler as the overwhelmingly strong voice of Brünnhilde. A Brünnhilde as written in books. Radiantly excited in voice (and in eyes!!!) as he greeted the sunlight, the cries of "Heil dir" gave goosebumps - and certainly woke some viewers from their sleep. An intoxicating voice of a singer from whom one will hopefully hear and see a lot more exciting things in the future. o-ton.online [Daniela Köhler] Her "Heil Dir sonne, heil Dir Licht" sounds like a revelation. An ideal cast for Siegfried Brünnhilde, but there is still time for Die Walküre or Götterdämmerung. The final duet with Stephen Gould develops into an exuberant, almost orgiastic vocal contest in which Köhler, who is still rested at this point, has a slight advantage. Leipziger Allgemeine Stephen Gould doesn't have it easy with Daniela Köhler. At the end of the eleventh opera evening of "Wagner 22", his impressive heroic tenor has a little trouble keeping up with her radiantly fresh soprano. Der fliegende Holländer Mannheim The opera magazine Nobody less than the new Bayreuth Brünnhilde for this summer, Daniela Köhler, could be won as Senta at the Nationaltheater Mannheim. She interpreted the role as a rebellious woman who wants to contradict the deadlocked structures and who often wants to dream away from dystopian reality. Her dramatic voice, a powerful and space-filling soprano, impressed not least with the clear vocal lines and clear articulation with remarkable text comprehensibility. Daniela Köhler has already hinted at great things for her Bayreuth debut! Tristan and Isolde XS Aalto-Theater Essen Wagner shortcut in feature length “Daniel Johansson and Daniela Köhler shine. Daniela Köhler managed the Isolde effortlessly with a fresh, powerful, completely unspent voice and powerful emphasis."Pedro Oblera WAZ / NRZ Tristan in shortcut “After enjoying the love potion, it goes immediately over to the famous duet" O sink hernieder, Nacht der Liebe "from the second act.. Johansson and Köhler fit each other wonderfully vocally in this great love scene in act two. Köhler's dramatic soprano and Johansson's tenor to merge certain extent vicarious of the two characters on stage [. ...] Isolde finally appears when it is too late, and so there is nothing left for her there is more to it than to let her own love death follow with "Mild und Leise". Köhler also made the end very haunting, so that one might well shed a tear or two of emotion. Your image also disappears from the projection. The audience thanks for this compact and emotional evening with great applause. CONCLUSION: Although this short version is not a substitute for the full opera, it focuses on the emotional highlights of the piece and gets under your skin with the intense playing of the two soloists and the Essen Philharmonic under the direction of Tomáš Netopil. "Thomas Molke Online Music Magazin Tristan XS “Soprano Daniela Köhler and tenor Daniel Johansson both make their debut in their roles, which they sing by heart. Both performers surprise with considerable vocal material, clever penetration of the roles and good text articulation. Daniela Köhler started her career at the Karlsruhe State Theater. Through the Helmwige she has worked her way up to the difficult Wagner subject, in Loriot's “Ring an einem Abend” she has sung Brünnhilde in Mainz and Essen . In the new Bayreuth “Ring” she would have been heard as “Siegfried” -Brünnhilde. Daniela Köhler is a radiant and clear soprano who is great Assertiveness. [...].Dramatically, she also has a large presence and, although these are concert scenes, plays her role with a few gestures and movements entirely from the spirit of the music. ””Rudolf Hermes, Der Opernfreund Glowing, intense Isolde “The star of the evening is Daniela Köhler as Isolde. Passionate without end, she embodies glowing intensity: with the powerful, radiant use of her lavish soprano. " Klaus Stübler Ruhr news culture Private look at a forbidden love "… Daniela Köhler, who effortlessly sings Isolde with a young, powerful, completely fresh voice and powerful emphasis. " Hans-Georg Wimmer, Westfälischer Anzeiger Die Walküre, Oper Leipzig "The Valkyries' ensemble is most excellently cast. You can see the singers' joy in singing and playing. [...] It is also enchanting how the individuality of the individual voices is brought to bear. When Daniela Köhler, for example, as the Helmwige jubilantly hunts across the stage, one can already hear a highly dramatic voice. As Brünnhilde in 'Siegfried' she will be on stage in Bayreuth this summer." Der neue Merker Siegfried, Oper Leipzig "And last but by far not least: Daniela Köhler as overwhelmingly vocal Brünnhilde. A Brünnhilde like in the book. Radiantly excited in her voice (and in her eyes!!!) when she welcomed the sunlight, the shouts of "Heil dir" gave her goose bumps - and certainly woke up some of the spectators from their sleep. An intoxicating voice of a singer of whom hopefully in the future you will hear and see many more exciting things. Together with the wonderful tenor of Thomas Mohr, Siegfried and Brünnhilde sang themselves a veritable triumph. This duet at the end was almost gigantic!" Oper aktuell Der Rosenkavalier, Oper Leipzig "It is also marvellous how Daniela Köhler, as Jungfer Marianne Leitmetzerin, interferes overzealously in the events.“ Der neue Merker Die Walküre, Emirates Palace Abu Dhabi “Daniela Köhler sang the Sieglinde in a highly dramatic, lushly timbred voice. Her mighty, radiant heights hinted at the »Siegfried«-Brünnhilde already.” Das Opernglas Der Ring des Nibelungen - für Kinder, Bayreuther Festspiele “Daniela Köhler sang the Brünnhilde with a powerful voice which also conveyed a lot of emotions.” Der neue Merker "Previously, when he met Brünnhilde (Daniela Köhler with full timbre, but with a still lyrically-understandable performance), he had simply learned what fear was." Das Opernglas Der Ring an einem Abend, Staatstheater Mainz “With women's power, the young Daniela Köhler, a true high-drama soprano, appears as Brünnhilde. In the ‚Walkürenritt‘ she comes to the stage with powerful, loud 'Hojotoho shouts'. Regarding the female performers, she is the highlight of this evening and the only one who holds the 'Ring' as a love deposit in her hands and hands it over to the ‘Rheintöchter’.” Der neue Merker |
