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| Press Reviews of Susan von Reichenbach's Performances |
the MetaWay
Beethoven's 9th
"Soprano Susan von Reichenbach made beauteous sounds at all levels, then climbed the hill to
that high B with the ease of a champion."
Los Angeles Times
Beethoven's Fidelio (as Leonore with Pittsburgh Opera)
"The loudest hosannas go to Susan von Reichenbach ... A performance worthy of highest praise."
The Pittsburgh Press
Beethoven's Fidelio (as Leonore with New Haven Symphony)
"Vocally, the performance can only be called world class. Few divas today could outdo the warm,
flexible and eloquent Leonore of von Reichenbach, who gave every musical phrase incisive value."
New Haven Register
Beethoven's Fidelio (as Leonore with Cincinnati Symphony and Jesus Lopez-Cobos)
"Heading the cast was Susan von Reichenbach, a splendid singer. She dealt most successfully with
Beethoven's punishing lines."
Cincinnati Post
Beethoven's Fidelio (as Leonore at Washington's Bellingham Festival)
"Von Reichenbach is the genuine article."
Bellingham Herald
Beethoven's Fidelio (as Leonore with Syracuse Symphony)
"Susan von Reichenbach, a last minute substitute Leonore, sang with a style that was both free and
open and managed to keep a real richness of sound, even in her high register."
Syracuse Herald-Register
Cherubini's Medee (with L'Opera Francais de New York)
"Susan von Reichenbach's gleaming soprano and generous spirit illuminated the title role -- a
wonderful singer."
New York Magazine (Peter G. Davis)
Wagner's Tannhauser (as Venus at the Savonlinna Festival)
"Susan von Reichenbach brought to her first-ever Venus a beautiful, soft-hued and full voice that,
when required, can sound firm and proud as befits a goddess."
Hufvudsladsbladet (Helinski)
"As Venus, Susan von Reichenbach was in this production allowed no freedom of physical
movement and therefore had to convey the character's seductiveness in purely vocal terms. With
her unique-timbred voice and communicative ability, the American succeeded and was wholly
convincing."
Das Opernglas (Germany)
Strauss' Ariadne auf Naxos (title role, National Opera of Mexico at Bellas Artes)
"Susan von Reichenbach has a powerful voice of beautiful timbre just right for the part and, without
any rehearsals at all [stepping in on 48 hours notice], offered a very fine realization."
Afficion (Mexico City)
Weber's Euryanthe (as Eglantine with Stockholm Philharmonic & Marek Janowski)
"She mastered the colossally difficult part with dazzling exactitude of intonation and with fascinating
temperament."
Svenska Dagbladet (Stockholm)
Berlioz's Damnation de Faust (as Marguerite)
"Her singing borders on perfection with a tone that is focused and pure."
Salt Lake Tribune
"Susan von Reichenbach's easeful mezzo encompassed the warmth and brilliance of the writing
without the slightest sense of strain. Witness her ravishingly sung 'Ballad' and gently rocking
'Romance'."
Deseret News (Salt Lake City)
Britten's War Requiem (with San Antonio Symphony)
"The imperious thrust, stiletto focus and grainy edge of soprano Susan von Reichenbach were
ideally suited to this score. Not just another pretty, glossy voice, she thrilled."
San Antonio Express-News
Verdi's Requiem (Orchestre de Quebec)
"Susan von Reichenbach reveals a voice more German than Italian ... The voice is solid and led
with a great sureness of technique and very certain engagement with the music."
Quebec Chronicle-Telegraph
"Susan von Reichenbach sang with full-throated, radiant passion throughout and was particularly
moving in her solo prayer in the Offertorium as well as in the poignant 'Libera Me'. "
San Francisco Examiner
Lieder & Recital at New York's Alice Tully Hall
"Ms. von Reichenbach is that rarity, a genuine Lieder singer."
New York Times
"A Wagnerian with the Right Stuff ... When she began to sing, it might have been Wotan's
unworldly daughter. She boasts all the materials and can trumpet forth with astonishing ease. Her
versatility is vast. She has all the sensibility and feeling required for Schubert, Wolf, Brahms and
Strauss and the instinct to darken/mute her tone for the French languor and apply nostalgia to the
love songs. For 'Dich, teure Halle!' from Tannhauser, entering dramatically, she burst into pure,
radiant voice."
Los Angeles Times
Respighi's Il Tramonto (with St. Lawrence Quartet at Tannery Pond Concerts)
"With brilliant and cultured voice, von Reichenbach captured the mood of moving pathos with
sensitive musicianship. Whether with accompaniment or without, each of her tones was right on
target, and she sang with beautifully centered lines."
Berkshire Eagle
"Faced with presenting a rather lugubrious text, von Reichenbach did a superlative job -- accurate,
focused singing of a difficult chromatic line and refined, appropriately detached, presentation of the
text."
Albany Times Union
Susan von Reichenbach has performed with such maestri as Jesus Lopez-Cobos, Marek
Janowski, Hermann Michael, Yves Abel, Joseph Silverstein, Leif Segerstam, Christopher Wilkins,
Gunther Schuller and the late Hans Vonk, Christopher Keene and Eduardo Mata.
"Soprano Susan von Reichenbach made beauteous sounds at all levels, then climbed the hill to
that high B with the ease of a champion."
Los Angeles Times
Beethoven's Fidelio (as Leonore with Pittsburgh Opera)
"The loudest hosannas go to Susan von Reichenbach ... A performance worthy of highest praise."
The Pittsburgh Press
Beethoven's Fidelio (as Leonore with New Haven Symphony)
"Vocally, the performance can only be called world class. Few divas today could outdo the warm,
flexible and eloquent Leonore of von Reichenbach, who gave every musical phrase incisive value."
New Haven Register
Beethoven's Fidelio (as Leonore with Cincinnati Symphony and Jesus Lopez-Cobos)
"Heading the cast was Susan von Reichenbach, a splendid singer. She dealt most successfully with
Beethoven's punishing lines."
Cincinnati Post
Beethoven's Fidelio (as Leonore at Washington's Bellingham Festival)
"Von Reichenbach is the genuine article."
Bellingham Herald
Beethoven's Fidelio (as Leonore with Syracuse Symphony)
"Susan von Reichenbach, a last minute substitute Leonore, sang with a style that was both free and
open and managed to keep a real richness of sound, even in her high register."
Syracuse Herald-Register
Cherubini's Medee (with L'Opera Francais de New York)
"Susan von Reichenbach's gleaming soprano and generous spirit illuminated the title role -- a
wonderful singer."
New York Magazine (Peter G. Davis)
Wagner's Tannhauser (as Venus at the Savonlinna Festival)
"Susan von Reichenbach brought to her first-ever Venus a beautiful, soft-hued and full voice that,
when required, can sound firm and proud as befits a goddess."
Hufvudsladsbladet (Helinski)
"As Venus, Susan von Reichenbach was in this production allowed no freedom of physical
movement and therefore had to convey the character's seductiveness in purely vocal terms. With
her unique-timbred voice and communicative ability, the American succeeded and was wholly
convincing."
Das Opernglas (Germany)
Strauss' Ariadne auf Naxos (title role, National Opera of Mexico at Bellas Artes)
"Susan von Reichenbach has a powerful voice of beautiful timbre just right for the part and, without
any rehearsals at all [stepping in on 48 hours notice], offered a very fine realization."
Afficion (Mexico City)
Weber's Euryanthe (as Eglantine with Stockholm Philharmonic & Marek Janowski)
"She mastered the colossally difficult part with dazzling exactitude of intonation and with fascinating
temperament."
Svenska Dagbladet (Stockholm)
Berlioz's Damnation de Faust (as Marguerite)
"Her singing borders on perfection with a tone that is focused and pure."
Salt Lake Tribune
"Susan von Reichenbach's easeful mezzo encompassed the warmth and brilliance of the writing
without the slightest sense of strain. Witness her ravishingly sung 'Ballad' and gently rocking
'Romance'."
Deseret News (Salt Lake City)
Britten's War Requiem (with San Antonio Symphony)
"The imperious thrust, stiletto focus and grainy edge of soprano Susan von Reichenbach were
ideally suited to this score. Not just another pretty, glossy voice, she thrilled."
San Antonio Express-News
Verdi's Requiem (Orchestre de Quebec)
"Susan von Reichenbach reveals a voice more German than Italian ... The voice is solid and led
with a great sureness of technique and very certain engagement with the music."
Quebec Chronicle-Telegraph
"Susan von Reichenbach sang with full-throated, radiant passion throughout and was particularly
moving in her solo prayer in the Offertorium as well as in the poignant 'Libera Me'. "
San Francisco Examiner
Lieder & Recital at New York's Alice Tully Hall
"Ms. von Reichenbach is that rarity, a genuine Lieder singer."
New York Times
"A Wagnerian with the Right Stuff ... When she began to sing, it might have been Wotan's
unworldly daughter. She boasts all the materials and can trumpet forth with astonishing ease. Her
versatility is vast. She has all the sensibility and feeling required for Schubert, Wolf, Brahms and
Strauss and the instinct to darken/mute her tone for the French languor and apply nostalgia to the
love songs. For 'Dich, teure Halle!' from Tannhauser, entering dramatically, she burst into pure,
radiant voice."
Los Angeles Times
Respighi's Il Tramonto (with St. Lawrence Quartet at Tannery Pond Concerts)
"With brilliant and cultured voice, von Reichenbach captured the mood of moving pathos with
sensitive musicianship. Whether with accompaniment or without, each of her tones was right on
target, and she sang with beautifully centered lines."
Berkshire Eagle
"Faced with presenting a rather lugubrious text, von Reichenbach did a superlative job -- accurate,
focused singing of a difficult chromatic line and refined, appropriately detached, presentation of the
text."
Albany Times Union
Susan von Reichenbach has performed with such maestri as Jesus Lopez-Cobos, Marek
Janowski, Hermann Michael, Yves Abel, Joseph Silverstein, Leif Segerstam, Christopher Wilkins,
Gunther Schuller and the late Hans Vonk, Christopher Keene and Eduardo Mata.
