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) who came to Porto for the first time. (In 2006 she sang in Lisbon the diptych Sancta Susanna / Erwartung) - 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 with that can count on in the future! DNArtes 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 getroffene 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
TEATRO LA FENICE Isolde Role Debut in Wagners TRISTAN UND ISOLDE
RUHRTRIENNALE Io Inachis in Carl Orffs PROMETHEUS
Fesselnde Höhe sowie expressive, ja beinahe existentielle Kraft besaß der voluminöse, dabei textverständliche Sopran von Brigitte Pinter als Eurydike (alias Alma Mahler). 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 Mahler mit hohen Maßstäben. Fesselnde Solistin. Mit dunklem Timbre beschwor Brigitte Pinter Momente grosser Intensität herauf. Brigitte Pinter setzte mit dem letzten Lied hohe Maßstäbe und ließ das Publikum nach dem Abschied ins Ewige zurecht den Atem anhalten. Brucknerfest Linz Das Lied von der Erde Brigitte Pinter, die ihre Partie in wenigen Tagen gelernt hatte, sang mit grosser Tonschönheit und warmer, lyrischer Kraft. Brigitte Pinter, who had studied the role just in a few days, sang with great vocal beauty and warm, lyric emphasis. FAZ Jan Brachmann Der musikalische Kraftakt gelang. Brigitte Pinter gestaltete die Partie der Euridike so ausdrucksvoll und genau, als hätte sie monatelang daran gearbeitet. The musical strenuous effort succeeded. Brigitte Pinter interpreted the role of Eurydike so expressive and accurate, as if she had worked on it for months. Berliner Zeitung Ann-Christine Mecke Sur scene, la cantatrice autrichienne Brigitte Pinter impose un soprano dramatique clairement „tetralogique“, ce qui n’empeche absulement pas cette artiste d’etre une musicienne accomplie parant sont large phrase de tres belles demi-teintes. Cote vocal Brigitte Pinter domine la redoutable partie de la femme. La voix est lorique et solide. L’homogoneite surtout la tessiture lui permet de ne jamais etre en difficulte, meme lorsqu’elle est confinee en fond de scene, lors du passage le plus dangeureux. Le texte est superbement projete et interprete avec la force qui convient a ces outrances pathologiques assumees. Son engagement vocale est grand. Hubert Stoecklin
Les musiciens s’en tirent avec les honneurs. Brigitte Pinter a restituer la charge emotive pourtant elevee des le debut de son monologue. Mais si l’intensite emotive semble en leger retrait, ni l’extension vocale, ni la nettete et la surete avec lesquelles sont assumes les grands ecarts ne laissent a desirer. Mit glühenden Wogen umgibt das Konzerthausorchester die hochdramatisch geführte Gesangspartie. Brigitte Pinter: ausdrucksstark The Orchestra of the Konzerthaus embedded this highly dramatic role in glowing waves. Brigitte Pinter: expressive Der Tagesspiegel Isabel Herzfeld 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 about Brigitte Pinters performance of Sancta Susanna with Maestro Riccardo Muti and The New York Philharmonic 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 Der herrliche Mezzo von Brigitte Pinter rührte uns mit zauberhaft kontrollierter Intensität und einem Timbre von samtiger Glut zu Tränen. zu Mahler's 2.Symphonie Theatre des Champs Elysees, Paris The wonderful Mezzo of Brigitte Pinter moved us to tears with miraculously controlled intensity and a timbre of velvety glow. about Mahler's 2nd Symphony Theatre des Champs Elysees, Paris Brigitte Pinter, excellent Diario de Noticias Bernardo Mariano Brigitte Pinter was very convincing up to Maries (Wozzeck) final “hair-raising” scream; one can clearly perceive that she is not only an excellent singer, but also a true actress. Publico Pedro Bolero 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
Brigitte Pinter, Austrian Soprano, was excellent in Arnold Schönberg's Erwartung. 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 PORTUGESE NATIONAL RADIO
"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 in Schönberg`s Erwartung. 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
"A fantastic singer and an extraordinary actress. I'll never forget the hallucinating eyes of Brigitte Pinter at the end of the opera" about Arnold Schönberg`s ERWARTUNG
Arnold Schönberg’ Erwartung is written for a dramatic soprano but also contains extended parts in the lower octave. I was very happy with Brigitte Pinter, who is a singer with a range between a mezzosoprano and a soprano with incredible high notes: an ideal choice. She convinced in a piece of 35 minutes with only three brakes of 15 seconds for the singer, even more demanding than Wagner’s Isolda. Mil Folhas, PUBLICO
- Muti infiamma Ravenna con l’Hindemith erotico - Ben scolpita e la Klementia di Brigitte Pinter - Brigitte Pinter un efficace Klementia - la solenne Pinter, che interpreta col giusto pathos il ruolo di Klementia about Klementia in Hindemith's Sancta Susanna at Ravenna Festival with Maestro Riccardo Muti
Sowohl im stimmlichen Ausdruck wie auch im szenischen Verlauf der Rollengestaltung zeichnete sich die Waltraute von Brigitte Pinter mit einer intensiven Ausdrucksleistung aus. Her vocal style as well as the scenic characterization of the part distinguish this Waltraute of Brigitte Pinter with a strong expressive performance. Ausserordentlich in der Tiefe des Ausdrucks und bemerkenswert auch die teatralische Kraft dieser Waltraute- eine spannende Leistung von Brigitte Pinter. Extraordinary is the depth of expression and the dramatic power of this Waltraute- an exciting artist Brigitte Pinter Mahler ist nur eine Facette des Spektrums dieser dramatischen Mezzosopranistin, deren Repertoire von Mozart bis Ligeti reicht. Mahler is just one end of the spectrum for this austrian dramatic mezzo, whose repertoire ranges from Mozart to Ligeti. from the article "Keep your eye on the german wing"
Diese Priorin wurde von Brigitte Pinter mit starker Intensität expressiv gestaltet und schonungslos in all ihren mörderischen Anforderungen bravourös gesungen. zu Die Teufel von Loudun, Penderecki, Wien This prioress was created by Brigitte Pinter with strong intensity and expression. Brilliantly she sang this unsparing part with its murderous demands. Der volle Mezzosopran von Brigitte Pinter aus Wien. Ihr hatte man mit der Fürstin und der Hexe eine Doppelrolle übertragen, die normalerweise von einem Sopran und einem Alt gesungen werden. Die Fülle dieser dramatischen Stimme, die in der Tiefe vollen Klang und in der Höhe leuchtende Kraft aufweist, gab beiden Rollen Profil. zu Rusalka mit Jiri Kout und Philippe Arlaud The rich Mezzo of Brigitte Pinter. She has been trusted with both parts, which are usualy performed by a soprano and an alto voice. The richness of this dramatic voice gave profile to both parts, with full sound in the low range and shining power for the high notes. NEUE ZÜRCHER ZEITUNG about Rusalka with Jiri Kout and Philippe Arlaud Stargast war eine Sängerin mit unaufhaltsamer Karriere: Brigitte Pinter. Jetzt ist die junge Frau schon nicht einmal mehr ein Geheimtip; zu spektakulär gut war Pinter zuletzt in Wien. Starguest was a singer with unstoppable carreer: Brigitte Pinter. Now the young woman has become more than a quiet tip; her latest performances in Vienna were too spectacular. Die Premiere von Christoph Penderecky's "Die Teufel von Loudun" darf mit Fug und Recht als Opernereignis ersten Ranges verbucht werden. die homogene Leistung der Solisten- allen voran Brigitte Pinter als der von sexuellen Wunschvorstellungen geplagten Ursulinenpriorin Jeanne-, die den Premierenabend weit über das Niveau durchschnittlicher Opernveranstaltungen erhob. The premiere of Christoph Pendereckis "The Devils of Loudun".... can positively be called a first class opera event. ....the homogenious performance of the soloists, first of all Brigitte Pinter as Jeanne tormented with sexual dreams, raised the niveau of the premiere far above average opera productions. |