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Dernières Nouvelles d'Alsace HAGUENAU WISSEMBOURG, 2013 / Cinq poèmes de Lessja Ukrainka, Marina Lysenko. Wissembourg Music Festival Und Ouvertüre éclatante.

Maria Gulik, 30 ans, a chanté l’amour, la joie, l’espérance et l’insouciance mais aussi la mort. Sa voix puisante, gaie ou plus triste, était sublimée, par l’un ou l’autre instrument.

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27 August 2013Veronique Kohle
À quatre mains chest encore minus. Dernières Nouvelles d'Alsace HAGUENAU WISSEMBOURG, 2014 / Wesendonk Lieder, Wagner. Wissembourg Music Festival

La cantatrice réussit merveilleusement bien à faire passer auprès du public, aussi bien l’enthousiasme de l’amoureux, que la gravité et le désespoir, voire le soulagement de ceux que la mort vient frapper. Sa brillante prestation, soutenue par un toujours brillant pianiste, remporta un vif succès amplement mérité.

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03 September 2014Veronique Kohler
Messa da Requiem, Verdi
C: Graham Wili
Requiem on the South Bank

The English Philharmonic Orchestra and Chorus under Music Director Graham Wili, were impressive in size, and paired hushed sounds with thrilling moments of volume, like the always-amazing “Dies irae”. Verdi’s Requiem is a big ask for any ensemble, including this freelance orchestra and chorus of amateur singers. Verdi’s tight rhythms felt lax at times, and the visual element of the mass of musicians onstage could have stayed a bit more stoic to match the music. Yet Verdi’s writing stands for itself, and the Requiem has extraordinary power to move listeners.

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24 May 2016www.schmopera.comJenna Simeonov
Un ballo in maschera, Verdi
D: Richard Studer
C: Jonathan Lyness
Un ballo in maschera @ West Green House Opera, Hartley Wintney

Maria Gulik is also a revelation as Madame Arvidson, revealing a deep mezzo-soprano and projecting a strong mysterious allure. It is interesting how her look turns to one of knowing contempt when Gustavus dismisses her prophecy as mad or a joke, and then sorrow as she sees how he really does not grasp the danger.

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24 July 2017www.musicomh.comSam Smith
Madama Butterfly, Puccini
D: Joachim Rathke
C: Daniel Carlberg
Madama Butterfly auf Nebenwegen in Kiel

Die Suzuki der Maria Gulik ist Butterflys Dienerin und jüngere Sänger-Konkurrentin in der Nebenhandlung. Der geschickte Einsatz ihrer darstellerischen und stimmlichen Möglichkeiten lassen aufhorchen, gerne würde man die junge Künstlerin in einer größeren Aufgabe erleben.

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01 September 2021www.opera-online.comAchim Dombrowski
Iolanta, op. 69, Tchaikovsky, P. I.
D: Carlos Wagner
C: Stefan BoneSergi Roca BruDaniel Carlberg
Zerrissen zwischen Rosen und Geheimnissen

Sobald Matteo Maria Ferretti als König René im Pelzmantel die Bühne betritt, herrscht er über ebendiese und seine Co-Darsteller:innen. Sein tiefer Bass-Bariton füllt den Saal und die Zerrissenheit des Königs Herzen zwischen dem beschützenden und dem hoffenden Vater liegt ihm eindrucksvoll in der Stimme.

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09 December 2022www.der-albrecht.netMaria Rus und Finn Schamerowski
Theater Kiel: Tschaikowskys Märchen "Iolanta" neu an der Kieler Oper

Ihr Vater René, wunderbar hilflos verzweifelt gespielt und gesungen von Bassbariton Matteo Maria Ferretti, isoliert sie mit Macht.

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11 December 2022www.kn-online.deChristian Strehk
Madama Butterfly, Puccini
D: Joachim Rathke
C: Daniel CarlbergSergi Roca Bru
Puccini Coup

The director Joachim Rathke actually lands a Puccini coup. He presents selected scenes from the well-known picture-book tragedy about the geisha abandoned by the sex tourism colonial rulers in the beautiful costumes of designer Claudia Spielmann as opulent theater on the theater. Others, however, appear ambiguously unvarnished in the twilight of the enviously competing ensemble “family”. [...] She [Agnieszka Hauzer] has the wide breath to let the self-deception aria “Un bel dì vedremo” flow bewitchingly, and the aplomb for panic attacks. In the competing friend Suzuki and the seducer Pinkerton, she has excellent singing partners at her side. Maria Gulik's Russian mezzo glows between reproachful and compassionate; the Russian-Buryat tenor Mergen Sandanov knows parlando and metallic emphasis. [...] With half capacity, but noticeably twice as intense artistic energy, the Kiel Opera started the season - ovations from the premiere audience are the reward. Kieler Nachrichten - Christian Strehk

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30 August 2021www.theater-kiel.deKieler Nachrichten - Christian Strehk

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