Anja Kampe

Die Walküre, Osterfestspiele Salzburg

„Anja Kampe wächst als "Walküren"-Brünnhilde mit überragender Stimmkultur, Präsenz und Intensität an diesem denkwürdigen Abend über sich hinaus.“ BR-Klassik

 „Kampe ließ, obwohl es doch die Generalprobe war, keine Zweifel daran, dass sie heute zu den führenden Brünnhilden zählt. Sie dankte des Kapellmeisters Rücksichtnahme mit schlankem, gut geführtem Sopran und berechtigte für die Premiere zu den schönsten Hoffnungen.“ Der neue Merker

„Anja Kampe ist als Brünnhilde eine einzige Freude: Sie spielt exzellent, ist in den Hojotoho-Rufen durchschlagskräftig, singt die Partie aber gleich bei ihrem allerersten Mal so schön, wie man es schon lange nicht mehr gehört hat. Sie bekam den meisten Applaus.“ Kurier

 „Ein halbes Jahrhundert nach ihrer Entstehung haben die Osterfestspiele Salzburg eine legendäre Produktion von Richard Wagners Oper "Die Walküre" wieder aufgeführt. Regisseurin Vera Nemirova, Dirigent Christian Thielemann und die Sächsische Staatskapelle Dresden sowie ein prominentes Sängerteam wurden am Samstagabend im Großen Festspielhaus bejubelt. Andauernde Ovationen gab es für die weltweit gefeierten Sopranistinnen Anja Harteros als Sieglinde und Anja Kampe als Brünnhilde, den altgedienten Tenor Peter Seiffert als Siegmund sowie den schweizerisch-ukrainischen Bass Vitali Kowaljow als Wotan.“ Musik heute

„Die Krone gebührt den beiden Sopranistinnen Anja Kampe als Brünnhilde und Anja Harteros als Sieglinde, die ihre szenischen Rollendebüts mit Bravour meisterten.“ Musik heute

 „Anja Kampe ist eine der ganz seltenen mädchenhaft-heldischen Brünnhilden.“ Augsburger Allgemeine

„Und auch Anja Kampe als mutige Brünnhilde ist nicht nur eine sportive Darstellerin, sondern gestaltet mit einer Stimme von wunderbarem Format. So gelingen – neben der eher statischen Walküren-Darstellung – anrührende Szenen, sei es im verzweifelt begehrenden Ringen der Geschwister, sei es in der auch visuell verschriftlichten Familienaufstellung des Götter-Clans, und ganz besonders in der väterlichen Strafaktion des dann doch sehr menschlich unmenschlichen Götterhelden, der seine Tochter auf den vom Feuer umtosten Felsen in fernere Zeiten schlafen lässt.“ NMZ

„Anja Kampe, die 2013 bei der Premiere des Castorf-Rings in Bayreuth die Sieglinde gesungen hatte, ist eine burschikos-agile Brünnhilde, die mit ihrer Präsenz das große Bühnenrund zu bespielen weiß[…]“ Niederösterreichische Nachrichten

„Überhaupt ist die Besetzung reinste Labsal. Anja Kampe[…] hätte man eine solche tonkonzentrierte, lodernde, substanzreiche Brünnhilde nicht zugetraut.“ Münchner Merkur

 „Im letzten Akt aber zündet die Fusion von Musik und Theater: Wie gnadenlos Vitalij Kowaljow da als Wotan seine Walkürentochter degradiert, wie herzerweichend diese Brünnhilde von Anja Kampe um mildernde Umstände fleht, wie stürmisch sich die beiden noch einmal vor der Bestrafung in die Arme fallen – das ist keine Verneigung vor einem alten Bühnenerfolg von Karajan selig, sondern unmittelbares Existenzdrama.“ Wiener Zeitung

 

Lady Macbeth von Mzensk, Bayerische Staatsoper München

„Sie macht uns zu Komplizen. Vier Menschenleben hat sie auf dem Gewissen – und wie reagieren wir? Mit Sympathie und Mitleid. Vielleicht sogar mit Bewunderung. Denn Anja Kampe ist Katerina, die Lady Macbeth von Mzensk. In einer Welt voller Gewalt wählt sie die Gegengewalt: Mord ist die einzige Form von Freiheit, die ihr bleibt. Und weil Schostakowitsch ihre von Männern beherrschte Umwelt so schonungslos schildert, so grotesk und niederträchtig, kann man als Zuschauer gar nicht anders, als Partei zu ergreifen für diese Frau. Jedenfalls an diesem Abend. Denn Anja Kampe ist Katerina. Mit brennender Intensität singt sie, ohne jedes Flackern, mit klar geführtem, warmem, farbenreichem Sopran. Eine fantastische Leistung..“ BR Klassik

 „Mit der wunderbaren Sopranistin Anja Kampe zeigt Kupfer, wie unschuldig, gedemütigt, angstumschlossen, wie stark diese Titelheldin ist, die Verbrecherin, der die Sympathie des Zuschauers gehört. In ihrem Monolog „Es ist schwer“, den sie im Lager singt, wird sie von einem einzigen Englischhorn begleitet. Und solche linearen Momente wechseln mit aggressiver Motorik.“ Tagesspiegel

„Anja Kampe in der Titelpartie zeigte in den drei Monologen und nuancenreichen Zwischentönen die ganze Empfindungsbreite von lyrischer Liebessehnsucht, Fürsorgewunsch bis zu verzweifeltem Lebensresümee vor dem dritten Mord und Selbstmord voller Elan und ist auch schauspielerisch sehenswert.“ Musik heute

„Es ist eine düstere Geschichte – und wurde eine große, umjubelte Premiere. Dass das Publikum bei Dmitrij Schostakowitschs "Lady Macbeth von Mzensk" in der Bayerischen Staatsoper am Montag nicht in Aggression oder Depression versank, war sowohl dem subtilen Dirigat von Kirill Petrenko und der Leistung des Bayerischen Staatsorchesters zu verdanken als auch der überragend vielschichtigen Darstellungskunst von Anja Kampe im Rollendebüt als Katerina“ Musik heute

„Es ist eine Kritik an männlicher Gewalt, eine Karikatur der bolschewikischen Gesellschaft, die unter der meisterlichen Regie von Harry Kupfer vor allem eines auslöst: unser Mitleid am tragischen Schicksaal von Katerina. Diese wird an diesem Abend von Anja Kampe gespielt und die Sopranistin brilliert vom ersten bis zum letzten Ton mit ihrem Rollendebüt. Mit unglaublicher Leichtigkeit changiert sie zwischen Hysterie und Melancholie, zwischen schrillen Tönen und lyrischer Tiefe und überstrahlt damit absolut überzeugend den Rest des Ensembles.“ bachtrack.com

 „Kupfer zeigt die rohe Gewalt und den sexuellen Exzess nicht, er gehört nicht zu den Blut-und-Sperma-Regisseuren. Und seine Katerina ist als Täterin vor allem Opfer – und unheilvoll liebesbedürftig. Die fabelhafte Sopranistin Anja Kampe singt das auch alles, ihr gelingt ein starkes Rollendebüt: kraftvoll-dramatisch wie verletzlich leise.“ Südwest Presse

„Besonders in den Monologen ist es [Anja Kampe] mit ihrem bei aller Expressivität natürlichen und anmutigen Sopran gegeben, einen echten, fühlenden Menschen inmitten all der Bosheit aufleuchten zu lassen. Ihre Verkörperung ist sicherlich eine der anrührendsten der jüngeren Rollengeschichte.“ Abendzeitung

„Anja Kampe ist die rotglühende Sonne, um die diese Aufführung kreist. Eine sehr menschliche, tief empfindende Katerina, unerschrocken, selbstlos und mit viel Sopransubstanz gestaltet. Die Partie wird nicht ans Deklamieren verraten, sondern tatsächlich (und bis zur Entäußerung) gesungen.“ Münchner Merkur

„Schostakowitsch hat aus dieser Katerina, die er geliebt, nicht verurteilt wissen wollte, eine horrende Charakterstudie gemacht, den Kreuzweg einer Schächerin gewissermaßen. Den Entwicklungsroman einer Mörderin aus unterforderter Seele. Anja Kampe glüht das alles auf. Sie schrillt, sie flüstert. Sie verwächst mit dem Orchester.“ Die Welt

„Großartig in allen Tonlagen zeichnet Anja Kampe diese Katerina mit so vielen Seelen in einer Brust: lyrisch zart, leidenschaftlich, mutig beherzt, ängstlich und abgrundtief verzweifelt.“ klassik.com

„An der Staatsoper in München war jetzt die farbenprächtige, so feinsinnige wie robuste Stimme der vielseitigen, auch vielfach Wagner-erprobten Anja Kampe zu hören. Sie wird von extremen Situationen nicht zu unfreiwilligen Grellheiten verführt und war hier der perfekte Mittelpunkt für Kirill Petrenkos nachher bejubeltes Dirigat“ Frankfurter Rundschau

„Der Sopranistin Anja Kampe könnte das Kunststück gelingen, Sympathie für die mehrfache Mörderin zu erzeugen, denn sie gestaltet die Rolle mit musikalischen Mitteln ungeheuer detailliert, kann schrill klingen im hysterischen Triumph über den toten Schwiegervater, dann wieder melancholisch und zerbrechlich kurz vor ihrem Freitod.“ Deutschlandradio Kultur

 „Und so spielt und singt es Anja Kampe, die der verletzten Frau Würde schenkt. Die mit ihrem vielschichtigen, raumgreifenden Sopran in den vielen lyrischen Passagen Seelenräume durchmisst. Und die genügend Tiefe hat, um auch den erschütternden Klagen dieser leidenschaftlichen, am Ende völlig desillusionierten Kaufmannsgattin Ausdruck zu verleihen.“ Badische Zeitung

„Sängerisch ist Kampe intensiv, zutiefst berührend, mit schöner, klarer Artikulation in dieser extrem anspruchsvollen Partie.“ Kurier

 

Wagner-Konzert, Opéra National de Paris, Musikverein Wien

„Brünnhildes Schlussgesang – an diesem Abend dank Anja Kampe zweifellos der Höhepunkt. Denn die Sopranistin demonstrierte wieder einmal, wie organisch, scheinbar mühelos, ausdrucksvoll und ohne jede Schrillheit Wagner-Gesang fließen kann, wie präsent eine Stimme dabei sein kann, selbst wenn sie sich nicht unbedingt durchdringend über den Orchesterklang erheben möchte. Demgegenüber war das instrumental Gebotene unter Dirigent Philippe Jordan – der Pariser Musikdirektor und Chef der Wiener Symphoniker – zu jeder Zeit höchst akkurat, aber auch unverbindlich: absolute Verlässlichkeit, elegante Präsenz, doch keinerlei Dringlichkeit oder auch nur Stringenz.“ Der Standard

 

Fidelio, Bayerische Staatsoper

"If Mehta was the motor of this Fidelio perforamnce, Anja Kampe was the heart and the soul. She is always bringing formidable expressivity and intensity to her acting and musical interpretation of this role. With her warm, round voice, she manages this dreaded part in a very sovereign way." Der neue Merker

"Anja Kampe's face is glowing full of love and human dedication. Supported by the fabulous hornist of the Bavarian State Orchestra, she found in her aria to tender sounds, without missing emphasis. Nobody sings and act this delicate part better at the moment." Abendzeitung

"Anja Kampe is an ideal Leonore, her soprano, rich of overtones, is marekd by a flexible and resonant middle range and colorfull peaks." Drehpunkt Kultur

The protagonist was Anja Kampe, who was a convincing Leonore, with an attractive voice and a very intense and nuanced interpretation.” seenandheard-international.com

“Le plaisir vocal est tout aussi grand, à commencer par la Léonore déjà présente en 2011 d’Anja Kampe, encore plus assise dans le médium et puissante dans l’aigu.”  altamusica.com

 

Die Walküre, Wagner in Budapest Festival

"Anja Kampe is and remains the favorite of the audience with her passionate strong-voiced and incredible acting Sieglinde." Orpheus

 

Die Gurrelieder, Kunstfestspiele Herrenhausen

"Anja Kampe, the internationally celebrated Wagner-Singer, is singing the part of Tove. She manages perfectly to cope with the dynamic crescendo of the overdimensioned orchestra with her flexible, bright soprano." NDR

 

Parsifal, Staatsoper Berlin

“Radiating humane warmth, the soprano Anja Kampe acted Kundry with febrile intensity, conveying a charge at once maternal and erotic.” New York Times

"Until the last minute, it was not clear if Anja Kampe, who suffered from a severe cold, would be able to sing, as the director Jürgen Flimm announced. But she mastered her performance with bravura and got ovations." Abendblatt

"The successs of a 'Parsifal' depends not necessarily on Kundry. Anja Kampe was announced indisposed. With fragile, in the heights not existent, but for now very delicate soprano, she coaxed such dubious, unusual Herzeleide-tones out of the role in the 2nd act, that you would like to hear more often alike. Barenboim reduces the orchestra for his ill soloist, so that she can sing Wagner with a Mahler impetus. These are the most touching moments of the whole evening." Die Welt

"Anja Kampe, dont la Kundry est la première depuis longtemps à supporter le souvenir obsédant de la jeune Waltraud Meier.” Le Monde

“there was a superb singing […] – plus a huge embrace from Tcherniakov for Anja Kampe, whose beautifully nuanced performance of Kundry was the centerpiece of his production.” The Telegraph

“It showcases Anja Kampe’s alluring, exciting and beautifully sung Kundry, possibly the most ‘complete’ account of this complex role – wild woman cum travelling pharmacist in Act I; seductress cum mother figure in Act II; self-abasing, taciturn penitent in Act III – since the young Waltraud Meier.” The Sunday Times

"Anja Kampe got the day before the premiere a severe cold, announced general director Jürgen Flimm before the start. But she wants to sing nevertheless, so the audience should please excuse if it doesn't work perfectly all the time. But there is nothing to excuse, having a cold is human, and also Anja Kampe is able to sing more than only Wagner. She plays an ill woman with gold-sparkling painful voice. How Anja Kampe is singing Kundry without the cold, one can imagine - but it can't be better than now." taz

"In the 3rd performance, Anja Kampe, who was indisposed at the premiere, is singing Kundry. As young woman in a light trench-coat, she accomplishes a brilliant performance in singing and acting, wonderful to watch and wonderful to listen to." Der neue Merker

"Anja Kampe triumphantly overcame illness so as fully to inhabit her role. She seemed less to play Kundry than simply to be Kundry, tireless in fulfilling the demands placed upon her by Wagner and Tcherniakov alike.” Boulezian

"The Kundry of the excellent acting Anja Kampe is a mere poem, and this in the double literal sense: the complaining langour, 'Dienen' and 'Schlafen' is stressed with powerful deepness  - and the Isolde-like melancholy and the passion of Tcherniakovs figure is garlanded with lyrical expression and always human furor." Wirtschaftswoche

"Puis comment ne pas être bouleversés, transportés par la performance des chanteurs, dont aucun n’a failli un seul instant, à commencer par la sublime Kundry d’Anja Kampe, censée être malade, et qui a jeté dans l’arène le meilleur d’une présence brûlante et d’une voix dont on a peu connu l’équivalent dans ce rôle depuis Christa Ludwig.“ concertclassic

"The argument of Mr Tcherniakov’s reading was aided considerably by the tremendous Kundry of Anja Kampe. […] she gave a heroic performance, singing the part so well that it was easy to imagine how great she would have been at full strength; and the illness had seemingly little effect on her acting, which was as commanding as one might ever hope to see on an opera house stage.” mundoclasico.com



Parsifal, Teatro Real Madrid

"El cartel de cantantes, salvo excepciones, no estuvo a la altura de la técnica y potencia del foso. Comencemos por lo mejor, la Kundry de Anja Kampe. Esta cantante poseé una emisión luminosa, sólida a lo largo de toda la tesitura y con conmovedoras capacidades para los momentos más intensos, todo ello adornado con un uso constante de un vibrato que rebosa de salud. Es además un actriz extraordinaria que dibujó una Kundry creíble en su triple faceta de figura maternal, atractiva seductora y desdichada a redimir." bachtrack.com

"Anja Kampe, today’s reigning Kundry. She made a huge impression in the Berlin Staatsoper’s production in 2015 and was in sovereign voice once again. Thrillingly sung at either end of this role’s fiendishly challenging range, she combined innate musicianship with an electrifying stage persona, and in doing so became the lynchpin of the staging and the star of the show." musicomh.com

"Existe-t-il enfin aujourd’hui meilleurs interprètes de Gurnemanz que Franz Joseph Selig et de Kundry qu’Anja Kampe ? […]  La seconde fascine [...] par l’acuité d’une interprétation de bout en bout saisissante. Anja Kampe existe déjà par sa seule présence. Le troisième acte ne lui concède qu’une réplique – 'Dienen… Dienen' – et il nous semble n’avoir entendu qu’elle, n’avoir vu qu’elle. Mais auparavant, la présence seule ne saurait suffire à emplir le deuxième acte. Là, Wagner concentre l’essentiel du rôle, exigeant l’impossible ou presque. Seule une voix incendiaire peut sans se consumer venir à bout d'un duo où il lui faut parcourir en même temps que la portée sur près de deux octaves, une vaste palette expressive. Soprano résolument dramatique aux graves belliqueux et aux rires toxiques, fatale enchanteresse inspirée de Rita Hayworth, Anja Kampe est cette lueur obsédante sans laquelle la représentation glisserait dans la nuit de la mémoire." Forum Opera

"Also, as in Barcelona, German soprano Anja Kampe was Kundry. In recent times she is been singing more dramatic roles and that is felt in her high notes. She has always been a very intense singer and performer, and once again she has been a true example of an artist putting herself at the service of her character." seenandheard-international.com

"Anja Kampe, dans le rôle de Kundry, dispose d'un timbre d'une magnifique ampleur. Dans les actes I et III, la santé impérieuse de son médium fait passer le frisson, tandis que son duo avec Parsifal - dans l'acte médian - est l'occasion pour elle de faire une démonstration de beau chant qui impose le respect." opera-online.com



Tosca, Staatsoper Berlin

"That Anja Kampe comes from a German singing tradition, is clear […]. The high notes are not soft, but the powerful middle range and a fascinating exact diction are her trumps. […] Anja Kampe unpacks the big heroine calibre, when she throws herself into the gender battle of the 2nd act. It’s captivating, how this Tosca suffers, but gains in her suffering more power and dignity. Together with the direction, Anja Kampe draws a self-confident woman, who knows about her erotic power and actively shows Scarpia with her ‘Vissi d’arte’ the vision of a better love, that is free of force, but who also grabs the knife quicker than most other Toscas.” Süddeutsche Zeitung

"Of course, the singers are celebrated, and with right: Anja Kampe, a shining Tosca with very secure heights.“ FAZ

"Anja Kampe lives through all the emotions of Tosca, without being sharp at all.“ Tagesspiegel

"What he [Barenboim] discovers here together with Anja Kampe as Tosca and Michael Volle as Scarpia, is really surprising: A Tosca, who in her famous aria ‘Vissi d’arte’ not only is a tragic diva, but also a person, who is capable of loving deeply. […] Anja Kampe, who is until now highly acclaimed for her Wagner-interpretations, sings the Tosca with tense dramatic but is never like a prima donna.” Berliner Zeitung

"Very exciting is the dramatic duel between Tosca and Scarpia. Impressive, how Anja Kampe as Tosca plays with her attractive body as well as with her soprano, and then throws out her prudency out of her innermost.“ RBB Inforadio

"Anja Kampe, who is one of the leading Wagner-singers in the world, is not like one of these Tosca-furies that rushes of jealousy, fear or furore – grace even in pain and great lyric expression characterize her interpretation.” Deutschlandfunk, Kultur heute

„Kampe and Volle successfully demonstrated that their casting was an intriguing alternative to a more lyric, Italianate approach. Kampe used her sumptuous middle voice to the best effect, and often succeeded in using the chest voice throughout the vocal range, avoiding an abrupt shift to high notes. An excellent actress, she threw herself into the role of a feisty diva who refused to let any man, her lover or her nemesis, dictate what to do. She was always in control, not only in her love scenes with Cavaradossi but also in Act II. While Tosca is typically a weeping willow reluctantly agreeing to Scarpia's advance to save her lover only to stab the villain in desperation, in this production Tosca actively negotiated and even flirted with scarpia as the latter finally agreed to her demands. 'Vissi d'Arte was sung not with Tosca standing alone on stage praying to God but with her pushing Scarpia on a settee in seduction." bachtrack.com



Tristan und Isolde, Ruhrtriennale

“In particular, the fabulous illuminated, never strained acting Isolde by Anja Kampe showed what format she has. Her Isolde has warmth, emotion and resolution. The voice is powerful, but not too rich, flexible but very dramatic, she has the height, a broad, full central location and an impressive rich depth. Thanks to her dazzling stage presence, her characterful round timbre and the finely focused line of her soprano Anja Kampe managed the undoubtedly most convincing vocal performance of the premiere.” Das Opernglas

“Anja Kampe's expressively sung Isolde shows with a wonderfully wide spectrum of feelings.” Westdeutsche Zeitung

“Anja Kampe is a furious proud Isolde with sparkling highs and exemplary diction.” Focus

“Anja Kampe demands from her voice all musical facets, without appearing stressed.” Der Westen

“[…] Isolde, which is performed by Anja Kampe with high tension inside and a dark coloured timbre.” Süddeutsche Zeitung

“Hard to beat is Anja Kampe as Isolde, which can ‘open’ from a full mezzo-position towards the top completely effortless to the end without getting tired. She let flow her long vocal phrases with lyrical intensity and with outstanding articulation. She disposes of plenty of interpretation instruments and for the demanding Liebestod she has a potion of suggestive effortlessness which makes the magic delimitation possible.” Kölner Stadtanzeiger

“Anja Kampe gave an Isolde which was well articulated until captivating depth.” FAZ

“Anja Kampe is a gorgeous Isolde. First, lustful revenge and hurt, she has the difficult task of telling the history of important essential for all events. Especially the view Tristan threw her when she wanted to kill him, the murderer of her husband, and suddenly everything changed. Anja Kampe thrilled with naturalness and drama and is the only one on stage with sword.” Die Welt

“They thank for it with extraordinary performance, especially Anja Kampe as blistering Isolde, fascinating especially in the first two acts.” Die deutsche Bühne

“The performance of Anja Kampe as Isolde was hailed rightly. She has such an intense stage presence that the eyes of the audience followed her almost hypnotically.” BR-Klassik



Tristan und Isolde, Glyndebourne Festival

“Anja Kampe is a ringing success in her first stage Isolde; we were enamoured even without a love potion, powerless before that emotionally vibrant soprano voice.” The Times

“Kampe is a marvellously engaging performer and her lyrically sung Isolde comes straight from the heart.” Financial Times



Die Walküre, Bayerische Staatsoper

“Anja Kampe’s Sieglinde incorporates with excited, but always controlled soprano, that love and the from love energized will of freedeom is not coming from itself, but require in an authoritarian social system a lot of courage and readiness to make sacrifices.” nordbayern.de

“To say the least, a trivial evening – if there wouldn’t have been Anja Kampe as Sieglinde, who played and sang the grief of the fettered woman and the power of the loving very convincingly.” drradio.de

“The protagonists for this Walküre were handpicked. Anja Kampe convinced with her passionate Sieglinde.” omm.de

“At the end, the audience applauded frenetically – for all singers, but especially for Anja Kampe, who excited with a pleasant unpretentious, but formidable powerfully singing Sieglinde.” Die Welt

“Kampe shows her big range of dynamic and vocal colors (and her excellent acting skills) in her ‘Wahnsinnsszene’ in the 2nd act. She puts in her Sieglinde some adorable childishness, which makes Hunding’s assault especially hard to see.” bachtrack.com

“If there wasn’t the soulful singing and fighting Sieglinde of Anja Kampe, the whole 1st act would have been all together very disappointing.” BR-Klassik



Die Walküre, Washington National Opera

“He could not have found a better Sieglinde than soprano Anja Kampe, previously a near-unknown, whose electrifying performance of this role in 2003 briefly made Constitution Hall the unexpected center of the opera world. If anything, Miss Kampe was even better on Saturday, traversing Wagner's intensely emotional gantlet with her uniquely gifted instrument, one that retains its sweetness and luminosity even at its greatest volume, defying the least hint of strain. She and Mr. Domingo are the definitive Sieglinde and Siegmund of this century's first decade.” The Washington Times

“Indeed, I don't know whether the Washington National Opera has ever presented a more thrilling 70 minutes than Act 1 […]. Their voices – fresh, lithe and lustrous – easily filled the hall, but they never sounded strained and there was none of that amped-up shouting that so commonly passes for Wagnerian declamation. A glorious teaming: Exactly what an operatic love duet should be.” The Washington Post



Die Walküre, Wagner in Budapest Festival

“Anja Kampe is a sweeping Sieglinde with her warm and emotionally touching soprano. Her ‘hehrstes Wunder’ was almost one. Not at last because of her empathy, she is at the moment definitely one of the best of her Fach.” Der neue Merker

“Anja Kampe was a stunning success as Sieglinde, one of her signature roles. Her tone was sumptuous and she followed the sweeping musical lines created by the orchestra with luxurious phrasing and coloring. Her voice never lost its warmth even when the voice soared high in the climactic 'O hehrstes Wunder!'” bachtrack.com

“Anja Kampe ha sido siempre Sieglinde en esta producción en Berlín y ha vuelto a repetir su intensa interpretación. Intachable en cuanto a intensidad vocal e interpretativa, pero sus nota altas están muy comprometidas, resultado calantes en más de una ocasión, aunque no gritadas como las de su compañera de reparto.” beckmesser.com

“Anja Kampe has always been Sieglinde in this production in Berlin, and she repeated her compelling performance. She was irreproachable in terms of vocal intensity, but her high notes are problematic” seenandheard-international.com

 

Die Walküre, Bayreuther Festspiele

“Johan Botha und Anja Kampe (Siegmund und Sieglinde) put their stamp on Die Walküre with some marvellous and rapturous singing and received audience approval with a stampede of applause […].” theoperacritic.com

“I have heard Anja Kampe for the 2nd time this year as Sieglinde, and she was this time […] as impressive as before, with her voice, that is extraordinary warm for a Wagner-soprano.” bachtrack.com

“The Sieglinde of Anja Kampe is at the top of the overwhelming applause […], she incorporates with her singing and acting with a grace and enviable freshness the femineity, that is first ridiculous, then unveiled and freed.” Forum Opera

“Anja Kampe [...] beams as Sieglinde with the warmth of her timbre and the homogeneity of her tessitura, she frees herself more and more until a glowing 3rd act.” Avant-Scène Opéra

“It is a dream couple on stage, when you close your eyes. […] Every syllable is understandable. The grandiose Anja Kampe – she grew into her part of the Sieglinde even more then during the premiere series last year – is with rightly the most highly acclaimed singer of this reproduction. […] Anja Kampe is also the only one of the soloists that tries to act beyond the standard gestures; only, that nobody joins her.” BR-Klassik

“The singers often use the empty space, that the stage direction leaves, to sing in calm. […] There is at the moment no better Sieglinde than Anja Kampe, at the beginning, her voice beams, later on she is radiant.” Mainpost

“Next to Botha’s beaming voice, Anja Kampe is the perfect Sieglinde. In the depth and middle range her voice is dark-earthy with a very personal sound colour, in the height her voice shows radiance, that is not comparable to any other singer. Her register balance is perfect, her musical achievement phenomenal and she even crowns it with an intensive acting.” Der neue Merker

"But not only the instrumental, also the level of the singers was at the revival of the Bayreuth-Walküre really remarkable. At the top of all, Anja Kampe, who made the audience applaud frenetically with her youthful-fresh, enthusiastically jubilating Sieglinde." BR-Klassik

"Anja Kampe and Johan Botha are in the Bayreuth-Walküre the loving twins, and the highly acclaimed center of the second opera evening in Frank Castorf's reading of the 'Ring des Nibelungen'-Cycle by Richard Wagner. They were both applauded frenetiqually on Tuesday, it seemed nearly as if Anja Kampe had tears in her eyes when she bowed in front of the jubilating rows. With with totally easygoing effortlessness and with which resplendence in their voices Anja Kampe and Johan Botha interpreted their parts, how they tell us with their singing between tender and inflammed, between hopeful and desperate a whole spectrum of feelings, is very impressive." hna.de



Fidelio, Teatro alla Scala

“The two-act work tells the story of Leonore, played by German-born soprano Anja Kampe, who disguises as a prison guard to rescue her unjustly jailed husband. […] The show impressed even those who watch every show with a most critical eye from the top gallery of the theater: ‘This was one of the best Fidelios I have ever seen,’ said Gino Vezzini, president of the Amici del loggione association. ‘Kampe lived the role, whether she sang or recited, she was a true heroine,’ he said.” reuters.com

“The audience honored Anja Kampe at the end of the performance rightfully with the loudest applause for her Leonore that was boyish but very blond and absolutely sovereign in the heights.” Tiroler Tageszeitung

“Anja Kampe as Leonore alias Fidelio with her dark and almost mezzo-lyrical soprano and her robust figure doesn’t appear at any time like a juvenile errand-boy […], but rather womanly, self-assuredly determined and even in her lament confident of victory, almost conscious of her power.” Süddeutsche Zeitung

“Anja Kampe as an actress is a splendid Leonore“ Kurier

“a luxuriously blooming, magnificently colorful Fidelio sung by Anja Kampe.” Deutschlandfunk

“LA MOGLIE Anja Kampe, soprano, s'annuncia un Fidelio di qualità. Ha vestito questi panni altre 75 volte. Tempra e physique du rôle ne fanno una perfetta Leonore. È tedesca ma in parte gioca in casa: il lavoro di lima lo fece proprio all'Accademia scaligera. Con Deborah Warner, la regista, ha disegnato la sua prima Leonore. Correva il 2006. La Kampe incarna la forza dell'amore, quella capace di spingere l'essere umano a compiere nobili imprese. Su di lei, donna-sposa, pesa gran parte dell'esito di Fidelio . Lo sa, e un poco trema.“ ilgiornale.it

 

Fidelio, Wiener Staatsoper

"The Leonore of Anja Kampe is talking, singing and acting completely pathos-free. At first a strapping young fellow who looks at Marzelline in such a nice way that she could really think ... Then the determined woman, who fights with all her strenghts for her beloved husband, repeatedly expressing her great fear, when her anxiety for the life of Florestan gains more and more ground, at last she is almost exploding when it comes to the final decision. She perfectly knows how to use her bright young-dramatic soprano, swearing credible, with safe heights, the faithful conjugal love and makes Pizarro tremble with 'Töt erst sein Weib!'." Der neue Merker

"Anja Kampe is one of the few singers who meet the requirements of the part of Leonore. Beautiful in sound, effertlessly and with a good technique she shaped both the grat aria ('Abscheulicher...') and the prison scene and took perfectly consideration of the overall development in 'Mir ist so wunderbar'." Der neue Merker



Fidelio, Los Angeles Opera

“Unless you are a special-effects junkie, the production offers little reason to attend this Fidelio. But the company debut of Anja Kampe as Leonore – Florestan's wife, who disguises herself as a jailer's assistant, Fidelio – is more than reason enough. Like most of the cast, she is little known in this country. She made her American debut four years ago as Sieglinde in a Washington National Opera production of Wagner's ‘Die Walküre’, and she is scheduled to appear in L.A. Opera's upcoming ‘Ring’ cycle. The German soprano attracted a good deal of attention in ‘Fidelio’ at Glyndebourne last summer. […] Although she looks pretty much left to her own devices on the Chandler stage, she seems to have the makings of a fine, lively actress. But mainly, she is a marvellous singer. Her voice is distinctive, displaying a dark, rich, mellow, almost alto timbre. Yet her sound is so focused that it cuts through Beethoven's most boisterous orchestral outbursts and his biggest, most awe-inspiring ensembles with remarkable ease. Leonore is Beethoven's impossible archetype of the wife/hero he expected women to be (and the reason his relationships with women were such disasters). With calm authority, Kampe expresses the impossible.” The Los Angeles Times



Fidelio, Opernhaus Zürich

"Anja Kampe is a Leonore of flesh and blood. When she frees herself pained from the hugging of Marzelline or when she touches relentlessly her Florestan full of tender love and rescues him with her mere presence – it’s like experiencing this yourself. Regarding her voice, the soprano, who has sung Leonore very often, she has everything to sing an also musically convincing Leonore.“ Neue Zürcher Zeitung

"Anja Kampe is at the top of the singer ensemble. She is an experienced Leonore and never lets this routine shine through. It is an absolutely necessity in her voice, that not only paralyses the derisive Pizzarro of Martin Gantner, but also conquers the audience. This Leonore has nothing naiv, but her courage comes from deep personal sufferings. The indication of a tone is enough, to fill out the room; and when Anja Kampe gives full power, she can bring it to burst.” Tagesanzeiger

“Nothing is missing regarding the singing and acting of the roles: leading the ensemble, Anja Kampe as Leonore. She manages her big aria in bright and in expressionistic extremes, but offers an exceptional interpretation with her striking shaping of the recitatives and with the connection of legato and accent of speech.“ Zürichsee Zeitung

“Homoki puts all his production on the versatile Anja Kampe as Leonore. She already had shown last year as Senta in ‘Der Fliegende Holländer’ her art of differentiation and now repeats this with great forcefulness.“ Südkurier

"Anja Kampe is Leonore. She is a Leonore with consuming passion, but also with shy resistance. […] Tenderness and furor determine her likewise striking and touching Leonore.“ Aargauer Zeitung

“With Anja Kampe, this new production has an excellent and present Leonore.“ Basler Zeitung

“With her youthful-dramatic and highly dramatic parts, Anja Kampe has shown already very often a convincing performance, for example as Senta here in Zurich last season. […] The delicated intoned quartet in the 1st act was a very beautiful moment, her voice mixed marvellously with Julie Fuchs […]. Her identification with the role, the concept and the impetus of her presentation were admirable.” Oper-aktuell



Der fliegende Holländer, Bayerische Staatsoper

"With Anja Kampe, he (Bryn Terfel as Holländer) has a grandiose Senta by his side. The tempo of their impressively presented ballad is rather measured, but the tension building remains up to the 3rd verse, so the listening typists drool over themselves. As a sign of rebellion she gets rid of the skirt and rises in her underskirt on the desk. […] At the climax of the opera, the beautiful duet Senta-Holländer, already like an old married couple sitting on a leather couch and falling into the consideration of a storm painting. Also here, both singers increase fantastically screwing up to the ‘Weberian’ jubilation finale of the act. Gorgeous!” oper-aktuell



Der fliegende Holländer, Opernhaus Zürich

"Bryn Terfel and Anja Kampe, who faced each other already in Covent Garden as Holländer and Senta are regarded as a dream cast, and they blow with their voices and their presence almost the room. Senta (Anja Kampe) shows already with her first note that the space behind the typewriter in his father's office is too tight. Even though Anja Kampe sings so loud at times, you have always the impression that she has inexhaustible resources: of sound, breath and expression. They are a strong couple – especially when they are still none." Tagesanzeiger

"Within her role debut as Senta, Anja Kampe rather gives the impression that she could sing an entire symphony orchestra down. Wonderfully safe, with a nice, for the small Zurich Opera House almost too great voice she tries to break the curse of the Holländer. Scenically she uses the small space which is given her by the direction." Südkurier

"Anja Kampe’s Senta masters the requirements of this highly dramatic role in an extra-ordinary way. The big Duet Holländer-Senta (Bryn Terfel / Anja Kampe) in the second act is one of the weightiest contributions of interpretation because here the two artists know not only great emphasis, but also the art of nuance. You rarely feel the thrill and magic of this encounter in such a vocally conclusive way on the stage." Badische Zeitung



Der fliegende Holländer, Royal Opera House Covent Garden

“Anja Kampe's sensational house debut as Senta brings some much-needed vitality an otherwise dour production. She is one of the most thrilling Wagnerian sopranos to be heard in London for years. […] The vocal honours of the evening go to Anja Kampe's enthralling portrayal of Senta. A character deeply traumatised from the start, she navigates the fiendish range of the Ballad with consummate ease and her fulsome soprano grows in confidence as the evening progresses. Hers is one of the most thrilling Covent Garden debuts for many a season.” Music OMH

“It speaks for itself that despite of this remarkable performance and the extremely high level of awareness of the singer (Bryn Terfel) just at this house the interpreter of Senta should record the even greater audience success: Anja Kampe showed with this acclaimed house debut in fact a phenomenal effort that nowadays is outstanding in quality. In particular, the ballad had a degree of vocal authority that is hard to beat. The control over fabulously placed, resonance and colorful top notes, a flexible and very sonorous middle pitch of the voice and rich sonorous depth were combined with a deep penetration of the complex character of this ambitious role. Especially the big duet Holländer-Senta should in this constellation end into an outstanding, memorable moment.” Das Opernglas



Mariinsky Theatre Orchestra / Valery Gergiev – CD-Recording

“Valery Gergiev is not only a brilliant conductor. It is uncommon that a cast is all of a piece like here, presenting the leading roles manned with artists at the peak of their personal development and even above all convincing up to the smallest detail. […] Both (Anja Kampe and Jonas Kaufmann) are singing with an exemplary understandability of the text and form the first act to an extraordinary experience.” Opernglas



Die Gezeichneten, Los Angeles Opera

“Anja Kampe’s magnificently sung Carlotta was the dominating presence onstage and reason enough for a trip to the Music Center. Judge may have asked the German soprano to portray her captivating character as overly psychotic and calculating, but she remained the ineffable force of nature she should be.” Los Angeles Times



Les Grandes Voix, Salle Pleyel, Paris

„Sa voix claire mais puissamment projetée, donne d’emblée à ‘Der Männer Sippe‘ un opportun mélange de jeunesse et de gravité, qui s’amalgament et s’abandonnent dans un ‘Du bist der Lenz’ d’une belle plénitude, caresse l’oreille du spectateur le plus délicat. […] cette belle artiste a obtenu du public parisien les ovations qu’elle reçoit et mérite aux quatre coins du monde, et c’est justice.“ Forum Opera



Freedom Operagala, Hungarian State Opera Budapest

“Anja Kampe sang the aria of Leonore from ‘Fidelio’ with big emphasis, very good diction and much warmth in the middle range of her youthful-dramatic soprano. And her strong mimic expression made the perfect match to this, she got many ‘Brava!’ […] The concert continued in this high class level with Anja Kampe and ‘Isoldes Liebestod’. Also this did more then touch, her facial expression and colourful, emotionally very intense soprano left know whishes open for the Wagner-addict.” Der neue Merker

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