Mag­dale­na Anna Hof­mann has earned acco­lades for her first Isol­de in “Tris­tan und Isol­de” at the The­ater Hagen:

“In front of Mag­dale­na Anna Hof­mann, the audi­ence bows. The sopra­no makes her debut in Hagen as Isol­de; she turns the title char­ac­ter into an angry war­rior princess with a mys­te­ri­ous depth, a rich mid-range and a high range full of bit­ter­sweet splen­dor that makes her pas­sion a force of nature. Mag­dale­na Anna Hof­mann is a sen­sa­tion­al dis­cov­ery in the Wag­n­er reper­toire.”
Moni­ka Willer, Westfalenpost 

“Mag­dale­na Anna Hof­mann undoubt­ed­ly has the self-con­fi­dence that the stag­ing ascribes to her; she also tow­ers a bit over Zoltán Nyári as Tris­tan vocal­ly. And yet, both of them make a great cou­ple in terms of vocal col­or, and they stead­fast­ly assert them­selves amongst the exul­ta­tion of the orches­tra.”
Karsten Mark , Ruhr Nachrichten 

“Above all, this applies to Mag­dale­na Anna Hof­man­n’s effort­less, nev­er shrill Isol­de, even in her dra­mat­ic out­bursts. In the end she has enough strength for a tru­ly exem­plary Liebestod …”
Joachim Lange, Concerti 

Mag­dale­na Anna Hof­mann is a lyri­cal­ly tim­bered, ini­tial­ly almost frag­ile Isol­de, whose vocal­iza­tion is increas­ing­ly gain­ing sub­stance, and brought Bigan­zo­lis direc­to­r­i­al con­cept to life with ter­rif­ic act­ing.”
Regi­na Müller, Die Deutsche Bühne

“Mag­dale­na Anna Hof­mann made her role debut as Isol­de in Hagen. And what a debut it was! She was much cel­e­brat­ed by the audi­ence at its end. Of course also for the rav­ish­ing, emo­tion­al­ly sung and enthralling ” Mild und leise wie er lächelt…(Liebestod)”, but that was not all. From the first act on (her expres­sive” Wie lachend sie mir Lieder sin­gen ”) Ms. Hof­mann con­vinced with her pow­er­ful sopra­no, which she also knew how to use ten­der­ly and with reserve. Her mas­tery of the obsta­cles of one of the most dif­fi­cult sopra­no roles seemed almost effort­less. And yet the role of Isol­de is any­thing but effort­less. Her char­ac­ter­i­za­tion of Isol­de, with all the facets that Wag­n­er gave to this role, was out­stand­ing. Mag­dale­na Anna Hof­man­n’s debut as Richard Wag­n­er’s ISOLDE could not have been more con­vinc­ing! BRAVO for this great vocal per­for­mance!”
Detlef Obens, Das Opern­magazin

“The inter­na­tion­al­ly sought-after MAGDALENA ANNA HOFMANN has devel­oped into a dra­mat­ic sopra­no. After Isol­de in Hagen, Beethoven’s Leonore will be her next role debut in Bologna. … The sopra­no dom­i­nates the tes­si­tu­ra of the Wag­n­er part with great verve. A spe­cial advan­tage of her inter­pre­ta­tion is the soft­ly round­ed tone of her youth­ful tim­bre, and her mel­low, round­ly pro­duced sound, which keeps Isol­de from the becom­ing a heavy­weight Hero­ine. The Liebestod rings lyri­cal­ly up to the effort­less final Fs in pianis­si­mo.”
Christoph Zim­mer­mann, Online Merk­er 

“The Pol­ish-Aus­tri­an sopra­no Mag­dale­na Anna Hof­mann in the role of Isol­de is an absolute­ly top dis­cov­ery this evening. With her daz­zling vocal shades, her pro­found depth and her tech­ni­cal­ly skilled expres­sive out­bursts, she con­veys pure emo­tion and pas­sion. In addi­tion, she man­ages to snend almost every sung word over the orches­tra with an impres­sive tex­tu­al under­stand­ing. She knows how to mas­ter her ener­gy with her abil­i­ties and unleash­es her voice in the right places. Her Liebestod has enchant­i­ng ten­der­ness and warmth. An impres­sive achieve­ment and an insid­er tip for the cast­ing squad of larg­er hous­es.”
Ingo Luther, Klas­sik Begeistert

“The same applies to Mag­dale­na Anna Hof­mann as Isol­de. Her sopra­no has great radi­ance and dra­ma. Her duet with Nyári in the sec­ond act real­ly gets under one’s skin… and her grandiose “Liebestod” stirs tears.”
Thomas Molke, Online Musik Mag­a­zin

On Sunday July 28th, 2019   /   general   /   Leave a comment

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