CD / Elisabeth-Maria Wachutka performing Richard Strauss,
Ludwig van Beethoven, Richard Wagner
Elisabeth-Maria Wachutka's CD will be presented during a special broadcast on Saturday, November 6th on "Klassik Radio", as a recommended CD (1 hour special and interview, emceed by Bettina Zacher).
Anton Cupak,
Der Neue Merker
An incredible CD! Hitherto at home in the German Zwischenfach, this soprano singer now presents us with a taste of her victorious thrust into the truly big and highly dramatic Fach – with a special twist: Her voice has retained its graceful tone of youthful exaltation which so clearly also befits Elektra, Ariadne, Leonore, Isolde and Brünnhilde. These, in principle, are youthful heroines – yet one rarely hears them as such. This interpretation of the Atrides' daughter gains our full sympathy as early as during Agamemnon's monologue when her voice expresses compassion towards her murdered father and the deep desire to resolve the family's unbearable situation. Elisabeth-Maria Wachutka possesses the long breath that is indispensable for these musical dimensions yet even her most powerful notes still sound human. Ariadne sounds young and desirable. The heights and depths of the realm of the dead which she alleges are fully there, it is "all pure", and even the theatrics required of the deserted demigoddess can be discerned. Of course, the singer is especially well equipped to play Beethoven's Leonore whose love is so steadfast; one is pleased to hear the vocal altitudes, reached so effortlessly, of the female warrior and lover, certain of her victory. Conscious of having now achieved all she has wished for in life, Isolde approaches her Liebestod, her love death, deliberately, leading it to its climax with an enormous intensity of feeling. It is almost possible to see Tristan resurrected against one's very eyes! One gets the feeling that, with her vehement emotional exertion, it is she, Isolde, who is guiding the orchestra where she wants it. She savors every word, every syllable, and each note in order to fully appreciate all the marvels which Wagner puts at her disposal. And thus, loving unendingly, she enters another world.
According to reports, Ms. Wachutka has been studying Isolde – and one can only encourage directors and conductors not to miss out on her first stage performance! She has become known already as an impressive Brünnhilde in „Siegfried" at Erl, and, when one listens now to this final song from the "Götterdämmerung", one understands that there is much more to come. Here's an artist - whose voice is in top shape - trying to act out the entire emotional range of this colossal character on the vocal as well as the verbal level. Simply wonderful!
She is optimally supported by the WÜRTTEMBERGISCHE PHILHARMONIE REUTLINGEN, led by conductor ROBERTO PATERNOSTRO, who has a rich experience with Wagner and Strauss and who moves along with the entire generous scope, embedding the singing voice into the well-organized overall sound. The prelude to "Tristan" enables the body of sound to favorably present itself with a solo part.
Sieglinde Pfabigan,
Der Neue Merker
Elisabeth-Maria Wachutka is an excellent professional with a voice whose dimensions befit the stark leaps in Electra's monologue or Brünnhilde's holocaust. Her exquisite technique allows her voice to always have the upper hand. This comes true both in the feared aria of Beethoven's Leonore (in which even the high H's are convincing) and in the velvety "It was a beautiful one" in Ariadne on Naxos. And the "love death", foggy and gentle, surrounded by the orchestra's twilight, is indeed memorable. A very interesting CD, which puts the spotlight on a singer who is less known than she deserves.
Nicola Cattò,
Musica
HHigh drama by itself on CD is often not entirely without problems. Therefore, it's a pleasure to point out a 70-minute CD by the new label Solo Voce, on which Elisabeth-Maria Wachutka demonstrates the power of her vocal cords. The soprano singer started drawing attention at the end of the 1990s: In "Siegfried" under Gustav Kuhn during the festival at Erl, or in "Ariadne on Naxos" in Naples. Among others, she guest-performed as "Daphne" during the "Strauss Days" in Garmisch and now sets the tone with Elektra's opening monologue and Ariadne's solo scenes by showing a consistently lyrical lightness (…). The soprano fades away healthily and with resplendent drama. Met with intelligible articulation, the listener can relax and follow the presentations of Wagner's Isolde and Brünnhilde in their final songs, empathetically accompanied by the Württembergische Philharmonie under the direction of a very adept Roberto Paternostro. Above all, hopes rise in view of the quality of the orchestra's performance and the unwillingness to compromise demonstrated by the producers in their demands on the musical partners of the artist standing in the recital's center. This indeed may be considered as a conscious reversal of trend, considering that recently, there have been too many CDs where musical arrangement or accompaniment had been economized. It can be done differently, again, and one can draw hope from that.
... thanks to a first-rate ensemble of soloists, in which the Munich singer Elisabeth-Maria Wachutka as Senta stands out. A soprano that is already well on her way to an international career. Power, secure high notes, and lyrical qualities, everything necessary for Senta, she has in abundant measure. Elisabeth-Maria Wachutka’s Senta - a godsend for the Wagner theater, a godsend for the Opernhaus Halle. Such a youthfully radiant, beautifully voiced, and unheroic Senta has rarely been heard.
MDR Kultur „Triangel“
Most impressive was Elisabeth-Maria Wachutka as the seaman’s daughter Senta that saves the Dutchman with her fidelity unto death. Even if it is inherent to the part: At times there was a feeling that she simply outsings “her” men on the stage. Elisabeth-Maria Wachutka got under the skin of the opening night audience.
Super Sonntag, Halle
So we do get to listen to the outstanding Senta (Elisabeth-Maria Wachutka) without disturbance after all. Her carrying round voice elicits goosebumps in a completely different manner.
Leipziger Volkszeitung
The absolute bright spot was the Senta of Elisabeth-Maria Wachutka. Youthful, radiant, present from the first to the last note—top quality! Ms. Wachutka does not need to shy away from the competition on the opera market.
Der Neue Merker, Wien
... Senta with youthful brilliance: Elisabeth-Maria Wachutka
As pleasant new discovery, the soprano Elisabeth-Maria Wachutka can already look back at numerous successes. With her clear and full-sounding voice, she sang the dream and delirium of Senta with a vibrant passion and achieved heartfelt emotion and an enormous expressiveness.
Il Messaggero Veneto
His (Albert Dohmen) counterpart Elisabeth-Maria Wachutka, a delicate and subtle Senta that still has sufficient power to let duets soar to an ecstatic climax, which allows her to succeed with an impressive and intelligently prepared performance.
SENTA, Saxonian State Opera in Dresden - Semperoper
An equal partner for him (Wolfgang Schöne) was Elisabeth-Maria Wachutka. Her clear and beautifully controlled soprano has wonderfully soft top notes, making it a joy to listen to her. What's more, she is a Senta to look at!
Der Neue Merker, Wien
Senta / Elisabeth-Maria Wachutka has her strongest moments during the highly dramatic parts with very secure top notes.
The sopranos Cynthia Makris and Elisabeth-Maria Wachutka as Electra and Chrysothemis are a godsend. ...Elisabeth-Maria Wachutka is able to take her radiant soprano on bright flights of longing.
www.klassik.com
Outstandingly, Elisabeth-Maria Wachutka created Chrysothemis with a highly dramatic, reveling soprano.
Scherzo, Madrid
Chrysothemis, Elisabeth-Maria Wachutka, has enough volume to assert herself and a pleasant, warm voice to provide a contrast in tone to her sister. She leaves the scene with a strong high B, now Electra can dance herself to death.
Der Neue Merker, Wien
Elisabeth-Maria Wachutka as Chrysothemis takes her clear radiant soprano on high flights of bright longing.
Orpheus
Brilliant top notes are delivered by Elisabeth-Maria Wachutka as Chrysothemis.
Münchner Merkur
Bright and effortless the Chrysothemis of Elisabeth-Maria Wachutka
Tiroler Tageszeitung
… Elisabeth-Maria Wachutka as Chrysothemis with a feminine soul …
With the jubilant duet in Siegfried, the powerfully voiced Elisabeth-Maria Wachutka awakens as Brünnhilde.
www.klassik.com
… the powerfully voiced Brünnhilde of Elisabeth-Maria Wachutka …
Münchner Merkur
Especially the Siegfried-Brünnhilde, Elisabeth-Maria Wachutka, took on an impossible task: It was 3:45am when she first stepped onto the stage to sing her demanding part. It was impressive. Rapturous applause at the end.
Wiener Zeitung
The not-enviable Elisabeth-Maria Wachutka had to awaken as Brünnhilde at about 3:30am. This, however, did not pose any problems for the experienced Wagner singer; her lean soprano sounded “rested”, with a fresh tone, beautiful high notes and a heartfelt expression. Vocally, she outshined her predecessor in terms of youthfulness.
AMALIA – Verdis “I Masnadieri”, Autumn Music Days in Bad Urach
Elisabeth-Maria Wachutka (the “Adelasia” of 2003) with her secure coloratura and high notes as Amalia, first put the persistent Francesco in his place (“draw back, miscreant”) and then luxuriated in smooth parallel sixths with Carlo on the “heavenly moment” of love.
Südwestpresse, Tübingen
Elisabeth-Maria Wachutka has the routine and technique to bring brilliance to her duets and arias that are riddled with difficulties.
Elisabeth-Maria Wachutka was the only one on stage who was able to breathe life, love, abandon, fear wrath, joy into “her” Leonore. Since she was positioned too far upstage during the 1st act, like many of her colleagues (I don’t want to presume that this was “revenge” on the part of the director Vera Nemirova for her disobedience!?), she was only able to make her resonant light dramatic soprano heard with customary authority and emotionality during the dungeon act. It was palpable that the wonderful words of the text in the finale really mattered to her, even if she had to read them off a piece of paper.
Der Neue Merker, Wien
... steers the vocally youthful Leonore of Elisabeth-Maria Wachutka, who carries a light of hope in her voice, securely through all hazards, ...
Süddeutsche Zeitung, München
The German soprano Elisabeth-Maria Wachutka made her debut in loco as Leonore with a uniformly well-trained light dramatic soprano, and this grueling role does not seem to pose any significant difficulties to her.
ADELASIA – Siegfried Wagner, Autumn Music Days in Bad Urach
Elisabeth-Maria Wachutka, with her confident bearing and fabulous voice control, with her stable and melodious light dramatic soprano and excellent diction is ideally cast as Adelasia.
Der Neue Merker, Wien
For the female title role, Elisabeth-Maria Wachutka was able to show off her experienced dramatic soprano to its best advantage. Especially her monologues, created with powerful drama, provided the most thrilling moments of a long evening of opera.
Das Opernglas
This work (Rainulf und Adelasia) calls for a total of eleven soloists and every one of them lives up to a high standard. Elisabeth-Maria Wachutka draws Adelasia with a wonderful voluminous cantabile voice.
Stuttgarter Nachrichten
The performance ... with Elisabeth-Maria Wachutka as highborn Adelasia was excellent.
ARIADNE AUF NAXOS, Teatro Nacional de Sao Carlos Lisbon
The performance of the three sopranos singing the lead parts in the opera “Ariadne auf Naxos”, the “Wiener Maskerade” by Richard Strauss, was rewarded with a hearty applause in the not entirely full house of the Theater São Carlos. ...The voluminous voice of the German singer Wachutka underscored the tragic tone and the unspoken pride of the aristocratic character Ariadne.
DAPHNE, International Richard Strauss Days in Garmisch-Partenkirchen
With Elisabeth Wachutka (star of the evening) a singer was engaged for the enjoyable opening of the festivals that only starts to fully show her artistry where her colleagues get the creeps in view of the extreme conditions. Relaxed, she let her angel-like, somewhat whitish soprano soar into stratospheric heights. Never was her musical performance hampered by conditioning problems, Wachutka could even have done without the microphones that were installed in view of the giant orchestra.
Münchner Merkur
... so that we were able to experience the incredibly effective charisma and stage presence of Elisabeth Wachutka in the title role, who was very believable in creating the girlish naive character Daphne with the radiant high notes of her soprano. She particularly turned Daphne’s closing aria into a highlight.
Der Neue Merker, Wien
Most convincing, however, was Elisabeth Wachutka, singing almost without amplification she was the only one infusing her vocal lines with expression. Her voice had luminosity and persuasive power.
Elisabeth-Maria Wachutka eliminated the chirping irrelevance commonly associated with the character Elsa, Ludwig’s alter ego, which had been underexposed up to now. With her lush creamy flowing soprano she, together with Robert Dean Smith, gave a perfect performance. Restraint and chaste at first in “Einsam in trüben Tagen“ (“Lonely, in troubled days”), then with almost endlessly radiant lyrical phrases in the confrontation with Ortrud (Eva Marton), which has finally been spelled out musically, until developing into a self-confident woman in the bridal chamber scene.
Badische Neueste Nachrichten
Elisabeth-Maria Wachutka as Elsa was convincing as well, with her expressive lines and expansive melodic beauty.
Die Rheinpfalz
Elisabeth-Maria Wachutka was Elsa, appearing as the alter ego of the young Ludwig. As a consequence, she wore a royal Bavarian uniform in the 1st act. She seemed stronger than Elsa usually is in this production. Her acting performance was impressive all around. This also applies to her singing. She threw herself into the role with her beautiful dramatic soprano that it was a joy to behold, and sang with much intensity and vigor throughout.
Elisabeth-Maria Wachutka, "discovered" repeatedly by "Merker" in the last few years (Leipzig: Elsa, Erl: "Siegfried"-Brünnhilde, Karlsruhe: Marietta in the "Tote Stadt" (Dead City), Naples: Ariadne ...), stepped in at the last minute to debut as Elisabeth at the Vienna State Opera. She believably carried her elation about this into the jubilant greeting for "teure Halle" (Dear Hall) both in pantomime and vocals. Here she benefited from her youthfully charming timbre as well as her secure beautiful rising high notes, which enabled her to lead even large ensembles. She participated in the minstrel contest with a lively animated performance and sang a deeply felt prayer full of feminine warmth. ...There are sure to be other worthwhile assignments at this house for both artists.
The autumn-like spring weather brings cancellations in its wake. Accordingly, Deborah Voigt who was supposed to sing Venus and Elisabeth ... dropped out. This certainly allowed us to get to know two pretty interesting singers. After a somewhat nervous start during the hall aria, Elisabeth-Maria Wachutka showed her qualities as Elisabeth. Her youthful high voice with a pretty timbre has the ability to easily blossom radiantly, as is necessary for this role. The prayer in the 3rd act, she sang from the depth of her soul and in the most beautiful piano. We are looking forward to meeting her again and are curious to follow her further development.
Elisabeth-Maria Wachutka has a bright soprano voice with a clear girlish timbre to offer. Her vocal performance was flawless. She played and behaved with much vigor, like a modern woman fighting for her idol. In view of the truly old-fashioned surroundings this had a somewhat strange effect. She swept through the Wartburg like Lara Croft! It really is no longer possible to follow the format Schenk / Schneider-Siemssen created for this work (19 years ago). ... But even historically accurate scenery and costumes require a consistent approach and a certain stylization. Any gimmicks simply seem funny. ... The body language of modern singers like Ms. Wachutka and ... at times seems too casual, or they simply do too much.
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