Jürgen Linn

Rheingold, Oper Leipzig
"An outstanding singer of the evening is Jürgen Linn as Alberich, whose text he shaped accurately without forgetting about the singing. Each line carries meaning and sound at the same time, is never a narcissistic mannerism but always in the service of the Gesamtkunstwerk.” Deutschlandfunk

"Phenomenal also Jürgen Linn as Alberich. His striking bass-baritone has an enormous strength and a very clear text declamation. His curse at the beginning of the 4th image, deeply penetrating, is the musical climax of the evening. His acting, at first comedic and greedy lusting after the Rhinemaidens, then totally nasty as Nibelungenfürst, shows every facet that this role demands." opernnetz.de

Siegfried, Oper Leipzig

"Jürgen Linn is a sinister, eloquent Alberich." omm.de

"Jürgen Linn sings a black, distinctive Alberich." MDR Figaro

"The Alberich of Jürgen Linn also attracted our attention - he has a dark, gurgling depth and a 'brutal' grandeur, it was almost intimidating. His text articulation: excellent." Der Freitag

"His brother Alberich was interpreted terrifically by the reliable Jürgen Linn." klassik.com

"Brooding and seeking revenge, the master of the ring has taken a stand. Jürgen Linn always hints at how painful it was for Alberich to have lost the ring. Remorseful, he encounters Wotan. Hope prepossesses him, when Wotan asks Fafner to let go from the ring. Jürgen Linn knows how to show the complexity of this interesting figure." Der neue Merker

"Jürgen Linn performs and sings a top-class Alberich: With warm timbre, excellent expression and assonant glaze, he nevertheless incorporated the role perfectly, impressed with a gloomy tonality and Alberichs growing desire to take over the world supremacy." Das Opernglas

"Redemption comes with Jürgen Linn as Alberich, who shows what is possible. He switches confidently in only seconds from a sweet-whispering to a despotical tone." Das Opernglas

Götterdämmerung, Oper Leipzig

"Jürgen Linn has only a short appearance as Alberich, but he sang it with the same intensity and viciousness like his Rheingold- and Siegfried-Alberich." opernnetz.de

"Jürgen Linn mastered a chamber play like short appearance as Alberich." kultura-extra.de

"Jürgen Linn as Alberich [was] magnificent." br-klassik

Die Meistersinger von Nürnberg, Wagner in Budapest Festival

„Jürgen Linn gab mit markantem, erstaunlich koloraturgewandtem Bassbariton ein gelungenes Portrait des Fritz Kothner […].“ Das Opernglas

Wozzeck, Internationale Maifestspiele Wiesbaden

“[…] the battle, that Wozzeck is fighting, the moments of pause, that the music and the Beilharz's production are granting him, stay breathtaking. Also because Jürgen Linn gave the title part existentialist density, he is wandering restlessly and driven through the scenes, constantly searching for halt with his eyes. You feel how the intracranical pressure is getting stronger and stronger, how he is suffering from psychic pain. And for that, Jürgen Linn doesn't need any big gestures." Frankfurter Rundschau

“With the bass-baritone Jürgen Linn, producer Beilharz engaged a singer, who sings and plays the title part with great expressivity. He is a master of the art of 'sing-speaking' without having to make any effort. A strong impression made his constant tension, frightened look and constantly hounded expression, deeply injured and duped by the Major, is final cracking up and finally his act of desperation... Linn doesn't show Wozzeck as an underdog, like in the drama, but more as an inner rebelling wannabe revolutionist. Big applause and bravi for Linn's great vocal and acting performance!" Giessener Allgemeine Zeitung

Der Rosenkavalier, Badisches Staatstheater Karlsruhe

“Jürgen Linn masterfully conveys the character of the baron […]. His sonorous baritone is skillfully colorful to make hear Ochs from his flamboyant appearance to frightening, given the breakdown of the marriage with Sophie.“ Badisches Tagblatt

“Not rude and obnoxious, Jürgen Linn as Ochs in rather short sleeves and delicious. Also vocally he avoids fortunately an overly rough diction.“ Pforzheimer Zeitung

“As Ochs von Lerchenau Jürgen Linn trumps, when he lets this Baron act in the lewd and lusty earthiness booze ‘human’, his magnificent baritone remains perfectly flexible.”

“Jürgen Linn's baritone sounds (with remarkably rich depth) almost too classy and cultured for the Baron Ochs von Lerchenau; in fact one expect at this point coarseness and crudeness. The character moves just below the border of the oversubscription, and that is real grandezza, because indifference and arrogance are to be felt only step by step. The Baron believes that ‘Lerchenau’s luck’ was always on his side - no matter what he does.” Pamina-Magazin.de

“Also impressive is the role Portrait of Jürgen Linn, who finds for his Ochs the right mix of arrogance and earthy folksiness.“ Stuttgarter Zeitung

“Jürgen Linn, the counterpart around Sophie could defey himself […] with his spontaneous, playful facon, the easy and natural Vienna accent. Especially the satiety of his full and warm depth made sit up and take notice in the relevant passages. In the meanwhile, the artist is highly demanded on the international opera scene for big german repertoire, but he is definitely one of the singers, that have not enough reputation for their excellent performances" Der Neue Merker

“And what an excellent Ochs auf Lerchenau Jürgen Linn was! He is finally a bass-baritone, who has the deep 'c' as well as the high 'g-sharp'. His depth is full and concise.  Also the high notes are round and beautiful. With his great acting skills, he gave a delicious portray of the still youthful and crude baron.“ Der Opernfreund

Lulu, Staatsoper Berlin

“There is much laudable to report from the participants. Jürgen Linn shows the turmoil and despair of Dr. Schön impressive plastically. “ Süddeutsche Zeitung

“Jürgen Linn as alleged Lulu's father finally gives a super unsympathetic despot - they are thus the only ones that offer paroli to Barenboim’s rampant reading.“ Nachtkritik.de

Der fliegende Holländer, Staatstheater Nürnberg

“Jürgen Linn’s Holländer is a striking stage presence and vocal predestined. He defies massively orchestral forces.“ Der neue Merker

"Jürgen Linn was thrilling in his role debut as Holländer with his diverse acting skills and presence on stage. His singing captivated especially in the break-outs, which he gave an engaging form until the last minute with enormously triumphant tones." Das Opernglas

“Jürgen Linn gives the Holländer at the Staatstheater Nürnberg with a clarity and intensitiy in his diction, that remains of Fischer-Diskau. He sings with an intelligence and fully sound that is truely impressive.“ Donaukurier

Das Rheingold, Staatstheater Nürnberg

“A baritonal experience again: Jürgen Linn as power-conscious, word-mighty gods boss with sense of abyss and self-doubt.” Nürnberger Nachrichten

“Two protagonists could not only repeat her earlier success, but they could increase in opulent vocal power differentiation and representational intensity. Jürgen Linn's Alberich was the towering figure of the evening: there was not a one-dimensional nasty villain, but someone who reacts helplessly angry at situations in which others have brought him. Occasionally Linn gave his Nachtalbe tragic elements.” Nürnberger Nachrichten

Die Walküre, Staatstheater Nürnberg

“This Ring is not at least the result of a successful cast, led by Jürgen Linn, who took over the role of Wotan. After his spectacular debut as Sachs, he also triumphs as Heervater: His conciseness in words and art of shading reveal this creative intelligence that knows about its own resources and its economic use, making it last for the "Magic Fire". Without false nationalist tonguing: Such a differentiated role portrait succeeds precisely often singers whose native language background does not have to capitulate completely compared to Wagner's prose.” Nürnberger Nachrichten

“[…] that you see a natural event with Jürgen Linn as Wotan on stage. Once mighty and powerful, sometimes delicate and quiet, one who masters the role instead of quelling it, like so many of his colleagues. The farewell song, often shouted, here over long distances in piano. [...] There is the initial bundle of energy Wotan, the eternal champion, already a broken man. Linn works out this change acting terrifically [...].” Crescendo

Siegfried, Staatstheater Nürnberg

“In dealing with Brünnhilde in the final act, the brutal father gets rudimentary empathetic.” Nürnberger Zeitung

“Jürgen Linn is at the end of his Wotan debut Wotan, the Wanderer melancholy of failing God, attained in the front rows of performers of this exceptional game.” Abendzeitung

Die Meistersinger von Nürnberg, Staatstheater Nürnberg

"That the originally not without problems opera got a 6-hours fest of opera, is due to some happy reasons. On the one hand, it was the great role debut of Jürgen Linn. With his big, rhetorical and acting intelligence, he showed a highly acclamied comeback on stage: This Sachs is an elfish, emobional and not at all balmy philosopher, and at the same time a convinced and convincing reformer and first of all a great manipulator from the back. 'Flieder' - like the 'Wahn'-monologue were highlights of the evening." Nürnberger Nachrichten

Lohengrin, Hamburgische Staatsoper

“Jürgen Linn fitted her husband Friedrich von Telramund with anger, ambition and envy. The true Wagnerian who is popular in Nürnberg (Sachs, Wotan, Holländer) impresses again by the absoluteness of his expression.“ Nürnberger Nachrichten

“Jürgen Linn is an enthralling Friedrich von Telramund.“ BR-Klassik

“A surprise at the beginn of the evening was JÜrgen Linn, as devious, perfectly intonating Telramund. His voice has the exactly right character and the suiting timbre for this role.  At the same time, his voice has enough power to face the partly very loud sounds from the orchestra pitch.“ Mittelloge.de

“[…] where Jürgen Linn‘s strong and earthy Bariton convinced […].” Nürnberger Zeitung

“Linn was for me the discover of the evening.Scenically very present, gesturally and mimically for a singer stunningly agile and variable, with courage to unsympathetic drastic. Same for his singing: snappy, often fierce, with large dynamic contrasts and many nunances in his expression." Forum.Festspiele.de

Das Rheingold, Palacio Bellas Artes Mexico City

“En el reparto vocal destaco Jürgen Linn como Alberich, a quien se le vio en buena forma, cantando con una voz sonora y robusta presencia dramática.” Operayre.com

“El aplauso que brindamos a los cantantes, sin olvidar al lascivo y maravilloso Alberich, el alemán simpatiquísimo, Jürgen Linn.” Archivowagner.info

Salome, Staatstheater Nürnberg

“Excellent the performance of Jürgen Linn as Jochanaan. In the short time, that he was on stage, he made himself with the fury and emphasis, but also with the ability to soft shades in his voice to the uncontested center of the staging." Nürnberger Zeitung

Die neugierigen Frauen, Rundfunkorchester München

“Jürgen Linn represented his role with delicious humor. His roguish facial expressions have been a delicacy! Solely because of him you wished a stage performance.” Der neue Merker

Die vier Grobiane, Rundfunkorchester München

"The singers are excellent and remarkably easy to understand. At the top of all, Jürgen Linn as grumpy Lunardo. With a sonorous, knobby depth, he not only sings the merchant, who still lives in the past, but incorporates him with his voice, savours the piano passages and the explosive passages alike." Münchner Merkur

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