Dorothea Herbert

Der Freischütz, Badisches Staatstheater Karlsruhe

“The dreamy Agathe by Dorothea Herbert did not leave any desires unfulfilled: shimmering piano heights, soft flowing legato and soulful lines.” Das Opernglas

“In addition to the lanky Max, the mighty Heroine Agathe by Dorothea Herbert (as a guest) forms a deliberate contrast. She is also bothered by all sorts of scenic caprices, but vocally offers a performance that covers the role, and her elegiac, beautifully recited cavatina in the third act meets with approval of the audience." Badische Neueste Nachrichten

Don Giovanni, Nationaltheater Mannheim

„Bei den Damen gebührt Dorothea Herbert (Donna Anna) die Krone: Stimmkultur, beseelte Koloraturen, zupackende Dramatik.“ Mannheimer Morgen

Der Fliegende Holländer, Bühnen Halle

"Consistant in this context is the much praised young Senta. Dorothea Herbert plays up as the "foolish" child, who can only articulate her opposition with a pink bed, stylish ripped jeans, a retro shirt and dreadlocks. On top of this she has a lot of very beautiful notes." www.

"And you experience amazing opera singers from a short distance: Dorothea Herbert's young Senta who climbs up to radiant hights." Leipziger Volkszeitung

"Dorothea Herbert's Senta snuggled itself softly into the legato and flourished brightly [...]." Die Deutsche Bühne

Four last Songs and Mahler's 4th Symphony with Sevenoaks Symphony Orchestra

"Strauss’s Four Last Songs saw the appearance of the evening’s soprano soloist, Dorothea Herbert. The piece calls for some lengthy and challenging melisma throughout, which the soloist executed beautifully with great sensitivity and purity of voice. The sense of each song was well reflected in her dynamic range. [...] Dorothea Herbert rejoined for the 4th movement, once more treating us to her profound interpretation of the text and balance with the orchestra, bringing the symphony to a perfect and moving close." Henry Raschen

Shadow of the Wave, Richard Burton Theatre

"There were, however, powerful performances in both acts – particularly from Dorothea Herbert as the mad Scarlett." Lynda Nash

"The role of Scarlett, the seductive and unbalanced sister-in-law, was impressively well performed in all respects by Dorothea Herbert; she alone had a lengthy and demanding solo, and made me want to see her in something I know." The Spectator

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