Current press coverage


Reviews of “Salome” – Detmold, 2015

“The focal point of the story is the ‘Dance of the Seven Veils’...Rarely does an actress playing Salome send her stepfather Herodes into such an ecstatic rapture that he delivers promises he cannot possibly keep. …Susanne Serfling, who sings and shapes [the character] fantastically, is less of a 20th century ‘femme fatale’ and rather a spoiled it-girl, who perceives her own exorbitant sense of entitlement as a matter of course. …Salome’s last song, in which necrophiliac perversion and an unfathomable obsession with love are combined to create an impossible transfiguration, is performed phenomenally by Susanne Serfling.” I.Franz-Nevermann, Lippische Landeszeitung 02/09/2015

Reviews of “Othello” – Detmold, 2014

“Among the vocalists, Susanne Serfling’s virginal Desdemona deserves the highest praise. Her soprano offered just the right timbre for the role, was wonderfully smooth in all pitches, and captivated [the audience] not least because of its clever permeation of the lyrics, which conveyed more of the part than the [stage] production did. She performed the ‘Song of the Willow’ and the ‘Ave Maria’ with great tonal beauty and, above all, a perfect piano technique, which carried the notes perfectly while creating a sense of sonic weightlessness.” S. Mauß, Opernglas, 01/2015 (Otello)

“Susanne Serfling’s Desdemona marks the highlight of this [performance of] Othello. Her ‘Song of the Willow’ and the following ‘Ave Maria’ are of breath-taking intensity.” T. Hilgemeier, Theater Pur 10/28/2014

“What deeply moved me on this opening night was Susanne Serfling’s performance as Desdemona, who utterly despairs of the intrigues around her that she fails to recognize. With every fibre of her body, Serfling lives and suffers in her role, places pain and hope into her voice, exemplified by the ‘Song of the Willow’ and later by the heart-wrenching ‘Ave Maria’ as well.” NMZ, Christoph Schulte im Walde 10/29/2014

Reviews of Il Trittico “Suor Angelica” – Darmstadt, 2014

“Susanne Serfling in the lead role is able to demonstrate magnificent metamorphoses: Initial subservience turns into open rebellion, followed by collapse and suicide after Angelica discovers about the death of her child. The emotional depth is marvellous…” B. Stegemann FAZ, 06/03/2014

“Susanne Serfling delivered an exceptional performance as Angelica since she brought her torment to life – both theatrically and vocally – without losing control of her voice, mastering even the highest pitches with grandeur. It is true art to depict the waves of emotion in Puccini’s music without being overcome by them, to rise again after crying out and breaking down when the merciless princess coldly tells Angelica that her son has died, and to perform the ‘Senza Mama’ so wonderfully close to one’s breath, consequently making viewers reach for their tissues.” L.-E. Gerth, Das Opernglas, 08/07/2014

“Under a medallion that is turning golden, the despairing sister Angelica takes her own life by drinking poison. The way Susanne Serfling performs this scene is ultimately the lasting memory of the evening. Emotionally broken, in despair, and lonely, she internalizes the role, making it harrowingly authentic with her soft, appealing, expressive, and stunning soprano. That is art, not kitsch.” Manfred Langer, Der Opernfreund, 06/04/2014

“With a wonderfully soft and in no way pointed or overstrained soprano, Suanne Serfling triumphs as Angelica.” J. von Strenburg, Frankfurter Rundschau 06/02/2014

“…with a malleable, expressive soprano and a moving performance, Susanne Serfling is outstanding as Angelica, completely delving into the inner life of the desolate nun. The opera, which Puccini himself believes to be the best of the three, thereby loses the flavour of sentimentality.” K. Trapp Darmstädter Echo, 06/02/2014

“...a lot of cheering for Susanne Serfling and her impressive death as Angelica.” B. Doppler Deutschlandradio Kultur, 06/01/2014

“With her performance of the tragic Angelica, who has nothing more to lose in the world, the soprano Susanne Serfling gives an acting performance that is immensely touching, dense, and enthralling, particularly because of its simplicity and human touch. Far from kitsch and false piety, it will not be forgotten.” B. Steiner-Rinneberg, RheinMainTaunusOnlinemagazin, 06/06/2014

Reviews of “Othello” – Darmstadt, 2014

“…the excellent performance of Desdemona through Susanne Serfling. With crystal-clear high notes, the soprano conjures up the chaste nobility of the female role and, in a dialogue with the orchestra, develops a sublime view of her highly sensitive inner side.” B. Stegemann, FAZ, 03/18/2014

“Susanne Serfling as Desdemona is already worth the ticket price. Flawless in her soft approach as well as her powerful pleading, she is endlessly nuanced. She creates a deeply touching portrait of the misunderstood and abused Shakespeare heroine – perfectly casted [for the role].” T. Wolff, Darmstädter Echo, 03/16/2014

“…I thought Susanne Serfling as Desdemona was exceptional on Saturday. A stunning, powerful soprano who also sang and acted with sophistication: The way in which this innocent woman is destroyed by Othello’s jealousy and rage is very touching.” Martin Grunenberg HR2 Frühkritik 03/17/2014

“Susanne Serfling must be mentioned first. She gives Desdemona a thoroughly convincing profile and shines vocally, this time in particular in the lyrical passages that tell of a loving wife who no longer understands her husband. She provides an effective contrast to the male roles that are, for the most part, dominated by fighting and agitation.” F. Raudszus EGOTRIP.DE 03/16/2014

“Susanne Serfling’s stunning, wonderfully introverted, and concentrative Desdemona offers vivid, lyrical strength in the fourth act’s death-foreboding ‘Song of the Willow’.” A. Zibulski, Wiesbadener Kurier, 03/17/2014

“The highlight of the evening, however, was Susanne Serfling as Desdemona. In the first two acts she demonstrated her improvements as a spinto soprano in terms of strength regulation and diversity of expression (impeccable and soft intonations, stunning upswings), and then went on to mesmerize her audience completely in the lyrical passages of the ‘Song of the Willow’ and the ‘Ave Maria’. Her clear soprano with its concise, focused high notes, her beautifully nuanced colouring, ranging from delicate glows to the touching question of existence, and her internalized expressiveness were the lasting impressions of the evening.” M. Langer, Der Opernfreund, 03/17/2014

“A captivating tension between the vivid rise and downfall of lyrical soprano Susanne Serfling as Desdemona...” B. Uske, Frankfurter Rundschau, 03/17/2014

“…Desdemona is depicted as Madonna-like, loving, devoted, and delicate by Susanne Serfling, who expresses this in a clear, multi-facetted way through her vocals.” B. Sonntag-Zopf 03/18/2014

Susanne Serfling