"THE MAGNIFICENT MARTA HERMAN (SUZUKI) DESERVES TO BE NAMED PARS PRO TOTO FOR A LEVEL OF SINGING WHICH ONE COULD VERY WELL HEAR ON STAGE AT THE MET"
Online Musik Magazin
REVIEWS
PIQUE DAME / STAATSTHEATER KASSEL
"...a striking Polina, Marta Herman..."
NMZ (original in German)
"the much-celebrated Marta Herman as Polina deserves a special mention..."
HNA (original in German)
"Polina is sung by Marta Herman, who successfully balances the role's frivolity and eventual disillusionment"
OperaClick (original in Italian)
ALCINA / STAATSTHEATER KASSEL
"In the role of Bradamante, Marta Herman caused sparks to fly with her attractive mezzo soprano instrument. Her facility with coloratura is mesmerizing, and makes each aria thrilling, most notably the virtuosic 'Vorrei vendicarmi' "
Baroque News (original in French)
"As [Ruggiero's] lover Bradamante, Marta Herman was both youthfully radiant and movingly nuanced, with a wide array of vocal colours."
HNA (original in German)
DIE GÖTTERDÄMMERUNG / STAATSTHEATER KASSEL
“Marta Herman, another mezzo soprano from the house solo ensemble, succeeds in the task of starting the evening with her impressive First Norn, and returns later as Floßhilde.”
Opera Click (original in Italian)
"Marta Herman (1st Norn and Floßhilde), Vero Miller (2nd Norn and Wellgunde) as well as Doris Neidig (3. Norn) are absolutely fantastic and communicative in their roles as oracles."
Neue Musik Zeitung (original in German)
MADAMA BUTTERFLY / STAATSTHEATER KASSEL
"Marta Herman as Suzuki is fully compelling, very impressive both vocally and dramatically. These two women, Celine Byrne as Butterfly and Marta Herman as Suzuki, both give unbelievably moving performances. Their portrayals are truly amazing."
hr2 Kultur (original in German)
"[The opera is] populated by bizarre characters, like the ghostly-pale servant Suzuki (an enthralling and moving performance by Marta Herman)..."
Frankfurter Rundschau (original in German)
"The magnificent Marta Herman (Suzuki) deserves to be named pars pro toto for a level of singing which one could very well hear on stage at the Met, right beside the world-class voice of Celine Byrne (Butterfly)"
Online Musik Magazin (original in German)
DIE WALKÜRE / STAATSTHEATER KASSEL
"Marta Herman stands out as Grimgerde, with a large, present alto sound"
Thomas-Kümmel.de (original in German)
DAS RHEINGOLD / STAATSTHEATER KASSEL
"Marta Herman as Floßhilde makes her mark, producing a beautiful sound with a voice that is dramatic yet balanced."
Thomas-Kümmel.de (original in German)
"Elizabeth Bailey, Marie-Luise Dreßen, and Marta Herman, as Woglinde, Wellgunde and Floßhilde, leave a lasting impression vocally, and visually as well, due to their presence on stage for most of the opera."
Concerti (original in German)
"The Rhinemaidens are fantastic, both vocally and dramatically. Dietz staging has them fully involved on stage even after their opening scene (at times as Alberich's slaves),which proves to be a convincing concept."
HNA (original in German)
"As the three Rhinemaidens, Elizabeth Bailey, Marie-Luise Dreßen, and Marta Herman all sing beautifully, and are perfectly matched to complement one another."
Online Musik Magazin (original in German)
"The three Rhinemaidens are cast with happy attention to the different demands of each role; from the soprano of Elizabeth Bailey, who handles the difficult task of singing the first notes of this Ring well, to the progressively darker and warmer voices of Mare-Luise Dreßen, and Marta Herman."
OperaClick (original in German)
"The Rhinemaidens deserve special praise; ever present on stage throughout the opera, they sing especially well, their voices combining beautifully."
Opera Point (original in German)
"The on-stage appearance of the Rhinemaidens in Nibelheim and Walhalla maximizes their characters' involvement noticeably... In addition, this happens to give the audience the opportunity enjoy the Rhinemaidens attractive (and attractively sung) presence significantly longer than Wagner allows. ... it is a good thing that in the final scene, the staging has these three beauties front and centre. ...They are Elizabeth Bailey, Marie-Luise Dreßen and Marta Herman, and here they do a great service (although not for Alberich, of course)."
Der Opernfreund (original in German)
ANTIGONA / STAATSTHEATER KASSEL
"[Herman's] great vocal flexibility and distinctive timbre are enchanting."
Die deutsche Bühne (original in German)
"In place of the original St. Petersburg castrato, we have young Canadian Marta Herman in the alto role of Emone, which she sings with exquisite ease and confident freedom of expression."
Das Opernglas (original in German)
"Marta Herman gives a strong performance in the pants role of Emone. She possesses a very deep timbre, which makes her absolutely convincing as a male love interest, and creates an imposing presence, even in sections that are adagio. Her scenes with Antigona are particular highlights of the evening, difficult coloratura included."
Opera Point (original in German)
"Herman scores with her warm mezzo voice, which also ably navigates more dramatic moments. Her third act duet [with Antigona] is a particular highlight of the evening."
Online Musik Magazine (original in German)
LE NOZZE DI FIGARO / STAATSTHEATER KASSEL
"As Cherubino, Marta Herman persuasively brings the passions and fears of adolescence to life through her singing, with a voice that sounds luscious and has real depth."
Online Musik Magazine (original in German)
"Marta Herman used her appealing voice to great effect in her portrayal of Cherubino"
HNA (original in German)
ROMÉO ET JULIETTE / STAATSTHEATER KASSEL
"The singers from Kassel's own ensemble provided powerful performances, especially Tobias Hächler as Juliette's cousin Tybalt, Hansung Yoo as Roméo's friend Mercutio, and Marta Herman with her cheeky Stéphano the page."
Frankfurter Rundschau (original in German)
"Marta Herman deserves special praise for her satirical third act aria, sung with freshness and ease."
Göttinger Tageblatt (original in German)
"The sold-out premiere performance featured a strong ensemble cast with several standouts: Tobias Hächler's wild, heroic Tybalt, Hansung Yoo's well-sung Mercutio, and Marta Herman's agile page boy Stéphano."
HNA (original in German)
LUISA MILLER / STAATSTHEATER KASSEL
"Marta Herman deserves a special mention - her performance as Laura makes one sit up and take notice. Her voice is extraordinarily beautiful and well-managed, and after this performance one is quite excited to hear her in larger roles in the future."
Opernglas Magazine (original in German)
"Marta Herman uses her role as Laura to full advantage, displaying the high quality of her sonorous, flexible mezzo soprano voice."
Göttinger Tageblatt (original in German)
DIE TOTE STADT / STAATSTHEATER KASSEL
"Let me pick out for particular mention Marta Herman who created a strong and moving profile for Brigitta the landlady...."
A. Ogus, columnist for Opera Now, anthonyogus.co.uk
"Marta Herman sang Brigitta, Paul's housekeeper, movingly and convincingly, with an impressively warm, soulful mezzo sound."
Online Musik Magazine (original in German)
"Marta Herman sang a strong (very youthful) Brigitta, with beautiful, jubilant high notes in her 1st scene arioso"
Oper Aktuell (original in German)
JULIETTA / OPER FRANKFURT
"The Bird Seller and 2nd Gentleman is sung by Marta Herman, a mezzo soprano with a rich sound."
Online Merker (original in German)
"The voices of Nina Tarandek, Maria Pantiukhova, Judita Nagyova and Marta Herman blossom exquisitely in their various roles."
Online Merker (original in German)
"The singers performing multiple roles are very compelling, for example ... Marta Herman and Maria Pantiukhova as the Bird Seller and Fish Seller."
Opera Lounge (original in German)
RUSALKA / OPER FRANKFURT
"Katharina Ruckgaber, Elizabeth Reiter and Marta Herman form a splendid Woodnymph trio, harmonizing perfectly together while simultaneously providing an infectious playfulness right at the beginning of the opera."
Der Opernfreund (original in German)
"The Woodnymphs offered an excellent and harmonious performance".
KulturFreak (original in German)
OPERNSTUDIO CONCERTS / OPER FRANKFURT
"The mezzo soprano Marta Herman, whose short hair reminds one of Liza Minelli, set the atmosphere with soulful, cascading vocal lines in "In solitaria stanza"...Marta Herman, very grounded, moved the audience through her strongly characterized expression."
KulturFreak (original in German)
"Mendelssohn's moving "Herbstlied" was performed by Marta Herman and Kateryna Kasper with bravura and sensitivity, without doubt the highlight of the evening...their presence and singing were pleasantly balanced. In addition, Herman was especially pleasing with Wolf's song "Agnes".
KulturFreak (original in German)
ADRIANA / KAMMEROPER SCHLOSS RHEINSBERG
"Marta Herman (Selma) gave a compelling performance, with eloquent and clear use of text, and a full mezzo sound."
Opernglas Magazine (original in German)
"Marta Hermann [sic] presented herself on a very high level with her warm mezzo soprano voice."
Opernnetz (original in German)
THE LEGEND OF LAURA SECORD / LUMINATO FESTIVAL
"Marta Herman is a delight throughout. Her mezzo-soprano combines brightness and depth and she has the panache to make her character the most memorable in the opera. "
WholeNote Magazine
"And Marta Herman, this season joining the Opera Studio of Oper Frankfurt, made a vivid impression."
Opera Canada Magazine
HÄNSEL UND GRETEL / UNIVERSITY OF TORONTO OPERA
"Herman was an engrossing force throughout, utterly winning, stylish and balancing drive and charm."
Opera Canada Magazine
