“The only diva who might carry on Beverly Sills’ role as ‘opera cheerleader’ in America.”
Read More“Not only has her majestic voice made her fans love her, but so has the soprano’s profound feeling for texts and subtleties of musical style, not to mention her genuine sense of humor.”
Read More“Internationally renowned…for her unique combination of exquisite singing and hilarious comic acting.”
Read More“Of particular delight: the friendly openness of the great American dramatic soprano Deborah Voigt – a Brünnhilde to reckon with.”
Read More“Voigt comes to pop singing naturally. She creates each musical mood so perfectly and demonstrates such show-biz savvy that it makes me wish she had more opportunities … If this were 1970, she would probably be given her own network variety show; let’s hope that Conan O’Brien and David Letterman have her on soon.”
Read More“In a role that reduces even great divas to shrieks, she sang with confidence and musicality.” -Manuela Hoelterhoff
Read More“Her timorous sweetness and…spitfire sassiness come across as affectingly authentic. … Why shouldn’t a Wagnerian soprano who has been smitten with musical theater since childhood fulfill a fantasy? … Ms. Voigt was delightful.” -Anthony Tomassini
Read More“I have seldom heard the role sung with such rhythmic accuracy and verbal clarity. From the start, with those go-for-broke cries of ‘Hojotoho,’ she sang every note honestly. She invested energy, feeling and character in every phrase … a compelling and creditable Brünnhilde.” -Anthony Tommasini
Read More“… everyone seemed more confident, especially the soprano Deborah Voigt, who has been singing Marie for the first time in this run at the Met; she gives a vulnerable, intense portrayal of a role that suits her well.” - Anthony Tommassini
Read More“Deborah Voigt was at the top of her game as Marie. Her voice peaked with thrilling high notes and her middle range created a lush and sensual effect. She managed to express Marie’s dream-like qualities but was also unafraid of exposing her ugly savage demeanor. This was most apparent during the Act 1 confrontation with the Drum Major. She clawed at him and her voice took on a sharp, rugged complexion. Her treatment of the child was also rather ambiguous. She managed to create tender legati as she sung him to sleep, but was quite violent vocally and physically as she told him to fall back asleep. Her death scene was another touchstone moment; her eyes filled with tremendous pain as she fell to the ground.” - David Salazar
Read More“Singing her first Marie, Voigt was in fine form, shifting seamlessly across a wide range of styles, from powerful declamation to Sprechgesang and Sprechstimme, and from lyrically melodious to harsh and dissonant. Her portrait of Marie’s multifaceted character was touching in her love for her child and concern for Wozzeck, hostile toward her neighbor Margret, and lustful and seductive in her encounter with the Drum Major.” - David M Rice
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