Brigitte Pinter                                                      

 

O fogo, o gelo e as emoções que lhes associamos

2015

House Debut at Casa da Musica

Excerpts Brünnhilde

Wagner Siegfried

Götterdämmerung

Peter Rundel

Brünnhilde in Wagner was the Austrian soprano Brigitte Pinter. First a mezzo soprano she made her transition to the dramatic soprano (such as the recently deceased Janis Martin, who distinguished herself in the great Wagnerian and Strauss roles, such as the still young Pinter has been doing). Miss Pinter came to Porto for the first time. (In 2007 she sang in Lisbon the diptych Sancta Susanna / Erwartung and Marie in Bergs Wozzeck) - she worked with Rundel in 2012 in the Ruhr Triennale, in a production of Prometheus, Orff - and left us with the desire to be heard again soon around here: her beautiful mezzo timbre gives a solid support to the texture and color of the the middle register. Her high register is beautiful, bright and firm and, with age, will still win in dramatic penetration. As for the physical and histrionic presence, she is already incredibly charismatic. Pinter is a dramatic soprano that we can count on in the future!

DNArtes

2014

Role debut as Marta in D’Alberts  Tiefland

with Johan Botha

and Sebastian Weigle

at the Oper Frankfurt

 

Das Liebesduett zwischen Johan Botha (Pedro)

und Brigitte Pinter (Marta) ist große Oper und rührt auch diejenigen, die bislang neutral zu d’Alberts Musik standen. Eigentlich schade, dass in Frankfurt nun Schluss mit

diesem „Tiefland“ sein soll.

Frankfurter Neue presse

 

Ihm zur Seite  eine Marta von großem Format

Brigitte Pinter, diese relativ junge Sängerin

formulierte in ausgezeichneter Darstellung

und berührender Charakterisierung die vom

Schicksal hart getroffenen Frau. Ihre Mezzo-Dispostion

hört man der Sopranistin nach wie vor an, in schöner Färbung der Mitteltöne gelangen ihr ebenso die

oberen Bereiche in bester Manier. Mit kraftvollen

zuweilen leisen Tönen bewältigt Pinter die

musikalischen Tücken ihrer Partie, breitete 

erschütternd das ganze seelische Elend aus,

erinnert an ihre unglückliche Kindheit, die sie nie hat

echte Liebe erleben lassen, dafür mehr Brutalität welcher sie bis dato nicht entrinnen konnte.

Der Neue Merker

 

In 2014 Brigitte Pinter

gave her  acclaimed debut

at Salle Pleyel in Paris

with Wagners Wesendoncklieder along with Brünnhildes Immolation Scene

from Götterdämmerung

with Orchestra de la Conservatoire de Paris

and Maestro Emmanuel Krivine.

WAGNER YEAR 2013

ISOLDE

in Wagners Tristan und Isolde

Role Debut with

at Teatro La Fenice 

 

Miss Pinters Debut as ISOLDE in Wagner’s Tristan und Isolde at Teatro La Fenice for the opening of the International Wagner Year in a new production with Maestro Myung-Whun Chung and Paul Curran was highly acclaimed by press and audience.

Nevertheless this Tristan may be called a sensation because of the young,promising  phenomenal Isolde-debutante Brigitte Pinter.

DLF - Kultur aktuell

Brigitte Pinter une Isolde determinee et charismatique

Le Figaro

 

Isolde was brilliantly  performed by Brigitte Pinter, powerful, intense, tragic, beautiful, she is a driving force with a  fascinating interpretation. 

Kulturkompasset

Read more reactions of the press at REVIEWS

BRÜNNHILDE

in

Walküre, Siegfried

and Götterdämmerung

at Opera Bastille

with  

  Philippe Jordan

See VIDEOCLIPS

Miss Pinter appeared again in Paris

with all Brünnhildes after her first apperance in 2011

       Wesendoncklieder

Konzerthaus Vienna

 

Miss Pinter appeared again at Konzerthaus in Vienna with Wagners Wesendocklieder

and the Hugo Wolf Quartett

Ruhrtriennale

Miss Pinters appearance in the role of IO INACHIS in Carl Orff’s

Prometheus in a New Production of Lemi Ponifasio at the

Ruhrtriennale 2012 was nothing

less than a personal triumph.

"Light into the darkness: .....Her mourning screams enlightened the darkness of the soul. These were grand moments in the performance reminding us of the great moments of ancient greek theatre." FAZ

In September 2013 Brigitte Pinter was awarded the special honorary price of the Carl Orff Foundation for her outstanding artistic performance.

Read more reactions of the press at REVIEWS

 

Ravenna Festival

Brigitte Pinter sang with great success in a new Production of Hindemith's Sancta Susanna at the Ravenna Festival with Maestro Riccardo Muti and Chiara Muti

New National Theatre Tokyo

Brigitte Pinter appeared in the

role o f Princess in

Dvoraks Rusalka

in a new prodction

with Maestro Jaroslav Kyzlink

and Paul Curran December 2011

 

BRÜNNHILDE  at Opera Bastille

Brigitte Pinter gave her

role debuts of Brünnhilde

in "Siegfried" and "Götterdämmerung"

with Philippe Jordan

at Opera Bastille in Paris

in 2011

 

Arnold Schönberg "Erwartung"

In a new Production of Arnold Schönbergs "Erwartung"

Miss Pinter gave her house debut at

Theatre Capitole Toulouse.

Read what the press had to say at

REVIEWS

 

Brigitte Pinter gave her role debut as Eurydike in Krenkes

"Orpheus and Eurydike"with Lothar Zagrosek

at the Konzerthaus in Berlin.

Press and audience were thrilled by her performance.

Brigitte Pinters rich soprano as Eurydike (alias Alma Mahler) owns thrilling high notes as well as expressive, almost existential force without loosing her clear diction.

Österreichische Musikzeitschrift, Jürgen Otten

Brigitte Pinter, who had studied the role just in a few days, sang with great vocal beauty and warm, lyric emphasis.

FAZ, Jan Brachmann

 

 

Brigitte Pinter

and

Riccardo Muti

Debut with

The New York Philharmonic

at Avery Fisher Hall, New York City

in Hindemiths Sancta Susanna

"She was utterly aware of what she was singing, she was dramatic without forgetting to be musical. She chilled the audience to the bone..."

The New York Sun

Download the LIVEBROADCAST

of this concert at:

Hindemith Sancta Susanna NYPO Riccardo Muti

 

After her successful appearances as Wozzeck Marie in Lisbon, as Frau in Arnold Schönbergs Erwartung in Rome, as well as Venus at Deutsche Oper Berlin,

Miss Pinter moved to her new repertoire as a dramatic soprano and gave her role debut as Elektra with Maestro Eliahu Inbal

in a production of

Klaus Michael Grüber

at Teatro La Fenice in Venice.

Future plans include Isolde and all three Brünnhildes in Wagners Ring, Salome, Färberin as well as Turandot.

 

See Video at YouTube

One of the stars most shining in this luxurious cast is Brigitte Pinter, a voice of great international successes “discovered” by Maestro Claudio Abbado. In Portugal, in Sao Carlos, she already showed her class in a most demanding soloperformance: Erwartung by Arnold Schoenberg. She debues as Marie in this Wozzeck. According to the stage director she is “less the insane person on stage but much more close to our- the spectators- inner world.

Publico, Pedro Boleo

This Marie of Brigitte Pinter was simply outstanding. She is clearly approaching the register of a dramatic soprano and moving away from the mezzo sound. Notable her diction, notable the insight and the art of the “Sprechgesang” sections, notable the ease of articulation in a role that reaches from a contra e up to the high c’’’, with phrases that expand into two and a half octaves, for example the “mirror piece”, demanding “molto leggero” and it really was “molto leggero”. In combination with Pinters portrayal of the part she demonstrates professionalism and most serious dedication to the work.

criticomusical.blogspot.com

Pinter uses the beautiful colors of her “mezzo” voice to sculpture the dilemmas of Marie

and she also produces fascinating high notes in the hour of truth.

O Espresso, Jorge Calado

Brigitte Pinter was very convincing up to Maries final “hair-raising” scream;

one can clearly perceive that she is not only an excellent singer, but also a true actress.

Publico, Pedro Boleo

Brigitte Pinter unites vocal and scenic qualities,

in the effort to serve the ambitious demands of the staging (immaculate mother/prostitute).

Sol, Joao Maria de Freitas Branco

 

 

See Video at YouTube

Portuguese National Radio

A woman, lost in a dark forest, at night, waits for the beloved one. In her delirious walking she recognizes his body: he is dead. Dead himself or dead their love? Maybe he is only absent? We do not know, we will never know, we know only that she loves him. Is it reality or hallucination?

Brigitte Pinter, Austrian Mezzo Soprano, was excellent. It was her first time to perform the role.  She is a mature actress with a full-bodied voice which is even throughout the entire range. She offers  luxurious low notes and tremendous high notes full of body and strength, and is capable of the utmost delicate pianissimi in all ranges mixed with explosions of strength. Brigitte Pinter showed a perfect intonation and a clear vibrato without exaggeration. The technical aspects of this role are very challenging but the most important fact about Pinter’s performance was her capability of expressing all the different emotions contained in the part.

Henrique Silveira

 

"Pinter already announced her class as Sister Klementia in Sancta Susanna of Hindemith"
Moved by the shroud of the previous scene, Brigitte Pinter, who was highly anticipated, was an astonishing singer and actress. She has  amazing high notes, that the role requires, but also ease both in the "Sprechgesang" parts and in the dense low notes of her almost contralto beautiful timbre.
O Expresso, Jorge Calado


A fantastic singer and an extraordinary actress. I'll never forget the hallucinating eyes of Brigitte Pinter at the end of the opera"

criticomusical.blogspot.com