La finta giardiniera – Teatro alla Scala

News & Press Press

“Anett Fritsch mocked her own character, Arminda, portraying her as an aristocrat from an opera-seria; overly serious, domineering and, of course, very jealous. It was an effective and convincing portrayal, underpinned by a solid singing performance.”

OperaWire – Alan Neilson

“Arminda, Belfiore’s new fiancée, was a temperamental Anett Fritsch, very secure over the whole range.”

Bachtrack – Laura Servidei

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Gramophone Review: Mozart Arias

Gramophone Review: Mozart Arias

News & Press Press

Anett Fritsch’s Mozart is a sheer delight. This is no bland essay of the usual suspects painted in anonymous colours but a vivid portrait gallery of characters that Fritsch has actually played on stage. She presents multiple characters from the three da Ponte operas and they’re all beautifully variegated, all coming across as living, breathing individuals. Fritsch’s is a light soprano – not unlike Maria Bengtsson’s, whose Mozart disc I reviewed last month – but she does so much more with the text and characterisation.

Her Cherubino is breathless with hormonal excitement (‘Voi che sapete’ wonderfully ornamented in the repeat), her Countess aches with pain. Fritsch does marvels with the text, clearly understanding every word. Her Susanna is coquettish, with rolled Rs in ‘dolce susurro’ making my heart skip a beat.

Donna Elvira is tormented and slightly unhinged, allowing touches of bluster into her coloratura, whereas Zerlina is all sweetness and innocence, demonstrating plenty of agility in the closing phrases of ‘Batti, batti’, which is taken at a sprightly pace. High notes are coloured imaginatively. Fiordiligi’s ‘Per pietà’ is earnest, verging on desperate, while there’s a stoic, impassioned quality to ‘Come scoglio’. Even Despina – who I usually find an irritant – is irresistible here, a saucy minx determined to liberate Così’s sisters. Fritsch follows this up with two superb concert arias. Perhaps I’m being greedy, but I’d have loved a souvenir of her Pamina too.

From the very first bars of the Overture to The Marriage of Figaro, with punchy ‘historically informed’ woodwinds and bristling strings, the playing of the Munich Radio Orchestra under Alessandro De Marchi instantly makes you sit up and listen. A jewel of a disc.

Gramophone – Mark Pullinger

“Vogtländerin auf dem Weg nach ganz oben” -Freie Presse

News & Press Press

Die Sopranistin Anett Fritsch wird in diesem Jahr noch an der Mailänder Scala auftreten. Das verriet sie in einer Veranstaltung der Reihe “Der Theaterförderverein lädt ein”.

In Plauen geboren, in Kürbitz aufgewachsen und jetzt auf den Bühnen der Welt unterwegs. Das ist Anett Fritsch, 30 Jahre alt.

Es hatte den Theaterförderverein allerhand Mühe gekostet, die Sopranistin nach Plauen zu holen. Am Montagabend war es soweit. Rund 200 Besucher erlebten die Weltklasse-Sopranistin. Am Ende verabschiedete der Fördervereinsvorsitzende Lutz Behrens die Besucher mit den Worten: “Und Sie können sagen, Sie sind dabei gewesen.”

-Renate Günther, Freie Presse

Le Nozze di Figaro, Salzburg Festival

News & Press Press

“Off to one side, we see the lovely, downcast Countess (the alluring soprano Anett Fritsch) . . . Left alone, the Countess sings her poignant aria, “Porgi amor,” which Ms. Fritsch did with mellow sound and elegant phrasing.”
Anthony Tommasini – The New York Times

“Anett Fritsch is a pretty, erotic Contessa with an excellent temperament in the arias . . .”
C. F. Pichler – Stol.it

{Anett Fritsch ist eine hübsche, erotische Contessa mit exzellenter Disposition bei den Arien . . .}

“Anett Fritsch is a sorrowful Countess, but through her pain she flourishes, getting buckets of applause.”
Wolfram Goertz – General-Anzeiger

{Anett Fritsch als traurige, doch im Schmerz aufblühende Gräfin bekommt kübelweise Beifall.}

Bühne: Mozart und die richtige Balance

News & Press Press

Anett Fritsch. Die junge Sopranistin gibt als Donna Elvira im neuen “Don Giovanni” ihr Debüt bei den Salzburger Festspielen.

Kaum überraschend, Hat Michael Handkes Inszenierung von Mozarts Cosi fan tutte Diskussionen ausgelöst. Das schlug sich in recht unterschiedlichen Kritiken nieder. Einigkeit herrschte dagegen bei der Interpretation der Fiordiligi:  Die junge deutsche Sopranistin Anett Fritsch war heftig akklamiert ins internationale Rampenlicht getreten.

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