Press

MARIE · WOZZECK

5/2016 · OPERNGLAS

Gurlitt’s Marie, however, is more dramatically structured, so that Inga-Britt Andersson’s beautiful soprano carried powerfully and the auditorium was filled to the last corner.

07.03.2016 · CRESCENDO

Remarkably, Bremerhaven’s Marie (Inga-Britt Andersson) not only acts freely, but lends her powerful voice to Gurlitt’s vocal experiments, sounding both exposed and yet internal, and thus becoming the real heart of the production.

5/2016 · OPERNWELT

Inga-Britt Andersson is convincing in the role of Marie, written by Gurlitt for his then wife Maria Hartow with her extremely high soprano tessitura.

07.03.2016 · Weser-Kurier

Inga-Britt Andersson skillfully portrayed Marie’s confused emotional life both dramatically and vocally. She did not hesitate to lend her beautiful soprano to dramatic expression, right up to highly dramatic cries.

TATJANA · EUGEN ONEGIN

25.04.2016 · Weser-Kurier

Inga-Britt Andersson captivates as Tatjana from the first moment on. She traces the emotional world of the character seismographically with her clean, secure soprano. The Letter Scene thus becomes the vocal and dramatic highlight of the production.

25.04.2016 · NMZ · New Musikzeitung

… Tatiana was well played and superbly sung by Inga-Britt Andersson ..

EVA · MEISTERSINGER

November 2014 · OPERA – the world’s leading opera magazin

The singers were an uneven crew, but the best were very good indeed. In the opening scene it seemed that the passionate and intense Eva of Inga-Britt Andersson, the Magdalene of Anna Burford, and above all the superlative David of Adam Tunnicliffe, a major artist, might be the heroes of the occasion - and they were the performers who acted most, which helped. All of them would grace any account of the work in the world.

09/15/2014 · Seen and Heard International

Inga-Britt Andersson was a radiant Eva, her voice found the volume needed to cut through Wagner’s wall-of-sound when necessary and ‘O Sachs! Mein Freund’ and the Quintet’s opening were rapturously sung.

FIORDILIGI · COSI FAN TUTTE

03.02.2014 · OOZ Oldenburger Onlinezeitung

Inga-Britt Andersson sang Fiordiligi with a glittering timbre, which added sultry light to even the deepest mezzo layers.

02.02.2014 · Weser Kurier

Inga-Britt Andersson (Fiordiligi) mastered the immense challenges of her role, and delighted in both big arias with dramatic attack and lovely, secure coloratura.

ROSALINDE · DIE FLEDERMAUS

27.12.2016 · Weser Kurier

The singing in this performance was of a very high level. Inga-Britt Andersson is a passionate Rosalinde, her Czardas expressive and secure in the high notes. One seldom hears such a spirited rendition of this aria.

02.12.2013 · Weser Kurier

Amongst the soloists, the ladies were in the lead. IBA offered an excellent performance as Rosalinde, with her powerful soprano. The transformation of the respectable housewife into the sophisticated “Hungarian Countess” was convincing.

CARMINA BURANA

15.11.2012 · DIABOLO Oldenburg

The outstanding solo voice of the performance was, as so often, that of Inga-Britt Andersson. It is unbelievable how cleanly and precisely this soprano can sing, whether loudly or quietly, and even in the most difficult, high lying parts. She can always be heard over the background of chorus and orchestra thanks to her wonderfully carrying voice.

MUSETTA · LA BOHÈME

14.06.2012 · taz. die tageszeitung

Above all, Inga-Britt Andersson shone as Musetta.

12.06.2012 · Kreiszeitung

Musetta, Marcello’s former lover, delivers a furious entrance with her new lover. The contrast between tragedy and comedy, constantly overlapping, is thrilling. Musetta is provided with vocal and acting forces of nature by Inga-Britt Andersson; she is alone in running around throughout the whole piece, despite the frequent snow, in a camisole top, as she has so much heat in her!"

KÖNIGIN VON SABA · DIE VERSUCHUNG DES HEILIGEN ANTONIUS (UA)

09.05.2012 · DIABOLO Oldenburg

Inga-Britt Andersson was vocally wonderful as the Queen of Sheba, and her vocal portrayal of Wollust was brilliant.

MERAB · SAUL

23.05.2011 · Weser-Kurier

…Inga-Britt as the spirited, scheming Merab, who evidently revelled in giving her vocal emotions free rein, let her coloratura stream out and emphatically flung out the high notes.

GILDA · RIGOLETTO

05/2009 · Opernnetz

Inga-Britt Andersson gives Gilda, as the victim of Mafia mercilessness, a fascinating, youthful voice; exceptionally clear in timbre, bright at the secure top, expressive in sorrow; a soprano who will surely continue to develop in substance!

SOPHIE SCHOLL · DIE WEIßE ROSE

22.05.2007 · Freie Presse Chemnitz

The stage directions for acting out elemental fear seem so demanding that Sophie and Hans Scholl, between truthfulness and the fear of death, have to give their all from the very first second, which makes their commitment so unique; this applies also, or even particularly, to the hour before their murder. Inga-Britt Andersson and Michael Kunze give total physical dedication, in the truest sense of the word, to their interpretation of the roles of the brother and sister. This demands absolute vocal security from the singers, together with a dramatic appreciation of the smallest gestures and great expressive outbursts. The “White Rose” really gets under your skin, because both protagonists live out the tragedy of the matter in a believable manner.