| Date and venue | Title |
|---|---|
| 16-Feb-2013 Royal Swedish Opera | The Nina Stemme show: Puccini's Turandot at the Royal Swedish Opera |
 An obsessively man-hating princess, a slave girl who really needs to open up a bit more about her feelings, a prince who actually fell in love at first sight, and an unhealthily large dose of exoticism? Why, it can only be Puccini’s Turandot. Saturday marked the première of the Royal Swedish Opera’s new production of Puccini’s final opera, with none other than Nina Stemme taking on the title role for the first time.
Read full review... | |
| 4-Aug-2012 Großes Festspielhaus | Mariss Jansons conducts the Vienna Philharmonic in Salzburg |
 Strauss’ Don Juan has a long tradition as one of the Vienna Philharmonic’s more dazzling curtain-openers but a recent tendency, even with Gustavo Dudamel, who conducted this work with the orchestra last autumn, has been for more subdued accounts which downplay the brilliance and virtuosity of the orchestral writing.Read full review... | |
| 24-May-2012 Carnegie Hall: Stern Auditorium/Perelman Stage | Nina Stemme comes out ahead in Cleveland Orchestra's Salome |
 “When I looked at you, I heard secret music,” says Salome in her monologue to the severed head of John the Baptist. Richard Strauss’s opera trades in the unseeable and the unknowable—from the range of metaphors applied to the moon to the nearly impossible staging of a ten-minute striptease performed by a dramatic soprano—which makes it unusually well suited to concert presentation. Strauss’ high-octane, atmospheric music can seem all the more lurid and mysterious when its subjective visualization is left to the imagination.Read full review... | |
| 13-Feb-2012 Konzerthaus: Mozart Saal | A full-blooded song recital from Nina Stemme |
 Tanja Niemann.jpg) Two of the world’s most sought-after opera singers giving Lieder recitals on the same night. The kind of painful choice which Viennese musical institutions and their chaotic schedules throw up all too regularly. I went for Nina Stemme over Jonas Kaufmann on the basis that she gives fewer solo recitals, despite harbouring reservations about how her big voice would fare in this repertoire.Read full review... | |
