Current press

Susanne Serfling is designated time and again as an “emotionally-charged” singer who creates “a touching portrait of the title figure with young dramatic soprano and lyrical expressiveness that extends downward almost to the alto range,” E. Kohlhaas, FAZ, 10/10/2008 (La Juive). She “experiences” her roles through “every up and down”, which she “very successfully achieves through both her acting and vocal performance” and for which she reaps “well-deserved wild applause and enthusiastic cries of bravo,” H. Spielberger Main-Netz (Madame Butterfly).

“Her development over the last seven years in Darmstadt is remarkable!”

M. Langer DER OPERNFREUND 06/17/12 (M. Butterfly). Starting with Rachel, whom she “with confident vocal line management, effortlessly provided sustained highs and a differentiated art,” L.E.Gerth, Opernglas, 10/2008 (La Juive), and moving to Katja, whom she “provided with a wide pallet lyrical to dramatic moments, and in doing so, made the character lively and believable throughout her inner conflict,” F. Raudszus, Theatre and Koncert, 9/2009 (Katja Kabanowa). She then experiences her first peak as a celebrated Liu who, “filled with tender sentimentality in youthful radiant tones, enchants with a wonderful floating piani voice” and “as the devoted Liu [who] is the icing on the cake of this celebrated interpretation of the performance,” G. Hoffmann, Neuer Merker, 07/2009 (Turandot). Always, “her artistry…is precise, clearly-audible and fully-sustained, even during the ultimate pianissimo and the highest tones. She allows the premiere to become a real discovery, and, as a gifted soprano, understands how to uniquely combine drama and lyrics and use them to further support her performance.” H. Zietsch, Darmstädter Echo, 07/2009 (Turandot).

She is celebrated as “the ideal casting” in the part of Cio-Cio San, and her multifaceted nature is highlighted: “With deep declamations and intonation-confident development of her gleaming high notes and nuanced coloring, she delivers a very convincing performance and was rightfully celebrated by the audience at the night of the premiere,” M. Langer DER OPERNFREUND 17.06.12 (M. Butterfly). “With her voice, which echoes to the last vestiges of the soul, the gifted soprano moves the audience to tears and is the indisputable star of the evening. She lends the character that she embodies a tragic air and gives viewers goose bumps. The viewer hopes and suffers right along with her, from the beginning to the end,” H. Spielberger Main-Netz (M. Butterfly). In doing so, she is convincing, both because of her acting talent “as well as and above all, her voice. This role seems to have been made for her. She masters the lyrical passages and the dramatization of the despair with flying colors. Her voice is characterized by a clarity and fullness, and dominates the stage during the central scenes,” F. Raudszus EGOTRIP.DE 6/2011 (M. Butterfly).

Susanne Serfling subtly develops her interpretation of the role, paying attention to balance and line management. In the role of Desdemona “[she] conjures up the chaste nobility of this female figure with crystal clear high notes, developing, in conjunction with the orchestra, a sublime image of her highly sensitive interior…,” B. Stegemann, FAZ, 18.03.2014 (Otello), and she “…shines…as Sieglinde, with an almost voluminous soprano which you can hardly believe comes from this dainty woman,” F. Raudszus EGOTRIP.DE 6/2011 (Die Walküre). Her range extends from the lyrical to the dramatic, “in the title role, she achieves a splendid metamorphosis: initial submissiveness tips over into open opposition, followed by a breakdown and suicide…,” FAZ, 06/03/2014 (Suor Angelica).

As Desdemona in Detmold, she adds to her Darmstadt successes and is unanimously celebrated as “a phenomenal Desdemona,” T. Hilgemeier, Theater Pur 10/28/2014. “Among singers, Susanne Serfling’s chaste Desdemona deserves the highest praise,” S. Mauß, Opernglas, 01/2015 (Otello).

Susanne Serfling