Albert Herring, April 2016
Vocally also strongly is Ann-Katrin Naidu, who after her part in Peter Grimes clearly proves again her talent for Britten and her comic vein. One believes this weeping mother her fears for her child.
23 Feb 2013
Thüringer Landeszeitung about Ann-Katrin Naidu
„Ann-Katrin Naidu staged the lyrics by covering a wide range and with long exuded breath by using her resonant sounding and with marvelous timbre endowed mezzo-soprano..with an aspirated “died forever”, the soloist ended the supremely haunting music of Chausson, which the audience acknowledged with great applause.”
The German opera singer Ann-Katrin Naidu affords us an impeccably accurate interpretation of Carmen marked by intelligence, virtuosity and sensuality. The mezzo-soprano not only possesses a vocal range and timbre perfectly suited to the score, but is also an excellent dancer and actress.
Interview for the Carmen Production of Mauritius 2010: PDF - English
7 Nov 2009
Concert with the Münchner Philharmoniker
… However, in Maurice Ravel's "Shéhérazade", all that remained for the musicians of the Münchner Philharmoniker to do was to follow the magnificent singing of mezzo-soprano Ann-Katrin Naidu and to avoid, at least as regards the sound and dynamism, getting in her way. Naidu's full voice, while always retaining the appropriate narrative tone, created amazement, longing, pining - and in ways which, when it comes to fairy tales from the Orient, can hardly be bettered.
The Münchner Abendzeitung awarded its "Star of the week"!
Firewok of Passions
Outstanding Ann-Katrin Naidu, a soprano of beaming elegance and vocal top qualities. Standing ovations!
Augsburger Allgemeine Zeitung
Mezzo-soprano Ann-Katrin Naidu was a dashing, exquisite Boccaccio, her voice rich in both upper and lower registers, her acting and diction impeccable.
"The visual manner in which Ann-Katrin Naidu presented Lady Pamela was a feast for the audience's eyes, and her warm mezzosoprano voice was faultless"
Neuer Merker, Wien
12 Jan 2008
Press reports on “BEAUTY AND THE BEAST” premiere (Süddeutsche Zeitung)
Glass stressed the lyrical moments, which superbly accommodates AKN’s velvet mezzo soprano as well as Julian Kumpusch’s smooth baritone.
12 Jan 2008
Press reports on “BEAUTY AND THE BEAST” premiere (TZ München)
… superbly sung by Ann-Katrin Naidu
12 Jan 2008
Press reports on “BEAUTY AND THE BEAST” premiere (Abendzeitung München)
Ann-Katrin Naidu plausibly embodied the change from Cinderella with her sewing to a radiant beauty.
12 Jan 2008
Press reports on “BEAUTY AND THE BEAST” premiere (Deutschlandradio)
Ann-Katrin Naidu was a real stroke of good luck in this role. Thanks to her oriental origins and her beautiful appearance on stage, in contrast to the tarted up sisters, she was, quite simply, Beauty. With her warm mezzo soprano, in the unfortunately halting German translation, she sang her quiet, honest replies while radiating something which has become rare: mild reticence, gentle elegance and, above all, grace. The ideal embodiment of a difficult role which in no way seemed artificial.
12 Jan 2008
Press reports on “BEAUTY AND THE BEAST” premiere (Merkur)
Ann-Katrin Naidu as “Beauty” succeeds in presenting the character’s compassion, her love for her father (Holger Ohlmann) and for the “Beast”, in a plausible and touching way.
12 Jan 2008
Press reports on “BEAUTY AND THE BEAST” premiere (Mundoclasico.com)
As in all her interpretations, mezzo soprano Ann-Katrin Naidu’s (“Belle”) singing was also superb. Naidu’s voice possesses a sweet shading, is especially beautiful in the middle range, and over its entire range it is well intoned and sure. Her warm tone and the subtle phrasing are shown to exceptional advantage in the most expressive passages of the score. In her interpretation, the different emotions are displayed in an extraordinarily elegant and poignant way. On the other hand, finding another singer who could, physically, embody the role of “Belle” so convincingly would be extremely difficult.
12 Jan 2008
Press reports on “BEAUTY AND THE BEAST” premiere (Opera News)
Mezzo-soprano Ann-Katrin Naidu was a true Beauty in every sense of the word. She became the opera's central figure, her transformation from a shy, naïve maiden into a loving woman accomplished through use of her luscious voice and the sheer, splendid force of her stage presence.
A matinée with the Bremer Philharmonic
Ann-Katrin Naidu has a flexible, attractive voice, combined with plenty of temperament and creative power. These are features which are always advantageous when it comes to intepreting de Falla's Lieder. As a result, this concert was a tremendous success, and it is to be hoped that it will not be the last of its kind.
An evening of Lieder
"Naidu bewitches the audience with velvet in her voice"
"WIMSEN (moc) Last Sunday, in the rural setting of the Wimsener Mühle, the cultural landmark, mezzo-soprano Ann-Katrin Naidu presented an evening of Lieder, delighting the audience with a concert of very high quality. The main focus of the evening was on the romantic art song (Kunstlied), and she was accompanied at the piano by Reutling pianist Friedemann Treutlein.
In addition to her regular performances at Munich's Gärtnerplatztheater, the very popular singer also performs internationally. On this particular occasion, Ann-Katrin Naidu warmed up with Schubert's relatively unknown "Die Männer sind méchant", which is variously translated as “Men are wicked”, “Men are unfaithful” or “Men are cruel”. At the same time, she created an amusing touch with the exaggerated characterisation of the girl who is confessing to tingling feelings in her approaches to the opposite sex.
The two following popular pieces by Schubert were an early highlight of the concert: "Gretchen am Spinnrade" (Gretchen at the spinning wheel) and "Tod und das Mädchen" (Death and the Girl). With great conviction, Ann-Katrin Naidu presented Gretchen's passionate devotion to her overwhelming feelings for Faust, while the piano embodied the highest level of excitement in mirroring the clicking sounds made by of the spinning wheel. And then, the icy arrival of Death, whose monotonous, wan speech took the girl from the world of the living. The audience held its breath.
One of Ann-Katrin Naidu's strengths in opera is the sheer volume of her voice, as she demonstrated in her wildly applauded encore of the “Habanera” from “Carmen”. However, this time she concentrated on the expressive and introverted genre of the “Kunstlied”. She used her velvet voice, technically perfect and with supple changes of register, to provide a cultivated interpretation in which infinite amounts of creative colours were at her disposal.
Not least was this to the benefit of to the French Lieder of Debussy and Fauré, bathed in sound, which she sang in the second part of the evening. She had started impressively with Lieder by Brahms, deeply moving the audience with the depth of feeling and tragedy which permeate them.
The audience clearly enjoyed this concert, which took place on a balmy summer evening, and with an outdoor aperitif. The unique ambience between forest and rocks also played its part in creating the special atmosphere.
Premiere of Cavalleria Rusticana (Münchner Merkur)
Ann-Katrin Naidu is at the natural centre of the Cavalleria. Her mezzo-soprano voice is ideally suited to Santuzza’s upper register. This matches the fact that, even in major outbursts, she always keeps to the silvery, shimmering line, confidently fashioned, and never loses herself in pathos.
Premiere of Cavalleria Rusticana (Süddeutsche Zeitung)
Ann-Katrin Naidu compensated for this with blazing intensity and her extremely impressive representation and psychological study of an outcast who, with stigmata on her hands, seeks her salvation in religious faith.
Premiere of Cavalleria Rusticana (Donaukurier)
With ecstatic fire in her highly expressive soprano voice, Ann-Katrin Naidu demonstrates the longing for love, and the pain caused by love, which Santuzza experiences.
Premiere of Cavalleria Rusticana (Ritmo)
quot;...una voz siempre aterciopelada, de rico colorido y buena impostación, con la que se mueve cómodamente por toda la partitura; a esto se suma una vasta gama de recursos expresivos, gran capacidad de matización tanto musical como dramática y una dicción diáfana."
25 Nov 2004
“Winterreise” with Ann-Katrin Naidu
With the performance by mezzo-soprano Ann-Katrin Naidu, the concert, accompanied by explanations of the music, turned into a series of magical moments. The listeners were enraptured by the sound of her flexible, dark but warm mezzo-soprano voice and the bright clarity when she sang soprano.
She effortlessly achieved the changes in register and the finest dynamic nuances, letting her voice become livid at the end of “Wegweiser”, (...eine Straße muß ich gehen / die noch keiner ging zurück" – “The road marker” – One road I must take, one from which no-one has returned”), aggressively highlighted the (self-)suggestive vivacity in "Mut", ("will kein Gott auf Erden sein / sind wir selber Götter" – “Courage” - If God forsakes the earth, then we ourselves are gods).
Thoughtfully, sympathetically, and playing to match her breathing – this is how Friedmann Treutlein accompanied her at the grand piano. For lack of time, five of the Lieder in the cycle were sacrificed to the concept of the concert with its explanations.
The more than 250 members of the audience, who applauded enthusiastically, would certainly welcome another performance by the celebrated singer, but next time with the complete “Winterreise”!
5 Nov 2004
The soirée in the Gärtnerplatztheater
Ann-Katrin Naidu is the possessor of the highest level of quality which exists in this repertoire; her voice ranges from a velvet centre, via beautiful, dark depths, to silvery heights; the phrasing is rich, yet controlled, and the melodic lines are powerful, organic and unexaggerated. Her diction is of remarkable clarity, and the singer’s attention is devoted more than is customary to the musical expression of the text. Her Brahms is intimate, concentrated, free of decoration, fundamental, warm and very intensive.
In Hugo Wolf’s Lieder, Ann-Katrin Naidu reflects the range of colours, lights and shadows which turns her voice into an instrument of fascinating versatility. The exquisite lyricism of the interpretation is underlined by several dramatic accents which always appear in the right place and are coloured with precise intensity. The aplombs are energetic, yet without the singer’s voice losing any of its characteristic velvety nature in them.
Published in the Spanish newspaper RITMO
On the new production of CARMEN in Munich
"Combine breathtaking beauty with erotic charisma, a full and dark mezzo-soprano voice, and a passionate temperament - voilà: Ann-Katrin Naidu is Carmen. There is no need to look into the crystal ball to forecast an extremely promising future for her when she sings this part ...... prolonged applause was the reward for the participants in this entertaining operatic evening – it was worth attending it primarily for Ann-Katrin’s performance of Carmen."
The Opernnetz editorial department on www.opernnetz.de
Recital (Neue Wochenzeitung)
In the very distinct range of Franz Schubert's Lieder, Ann-Katrin Naidu knew how to show off to advantage her high degree of musicality and intelligence of presentations. Songs of love and triumph, fear of death and joy at life after death were all equally impressive. "Gretchen am Spinnrade" (= Gretchen at the spinning wheel) became a breathless hymn to the power of emotion. Wild passion alternates with profound desperation - these are all moods which, thanks to her faultless technique, sparkling high or low notes, Ann-Katrin Naidu created in a way which was entirely natural.
Her voice possesses a timbre which is full of warmth and lustre, but also her high notes, which, gently and with a skilful change of register, she transformed into a ringing pianissimo. And what is more, she has the ability to get inside the modest yet so meaningful form of the Lied, and to express the thoughts, moods and emotions concealed within it.
Her remarkable voice control, without any shrillness or uncertainty, her distinct articulation, her flexibility and ability to modulate the soft timbre of her voice - we shall hear a lot more of these.
Recital (Rhein-Neckar Zeitung)
For many in the audience, listening to the young contralto with her lean, expressive voice was a very special experience indeed.
Recital (Stuttgarter Zeitung)
Ann-Katrin Naidu, reciting in cultivated fashion, and with captivating sureness of intonation.
The premiere of the Schwetziger Schloßfestspiele (The composer)
Dear Ann-Katrin, I will forever be grateful for your absolutely fantastic voice, the enormous amount of work you put in, your marvellous presence and strength in the part of Jennifer, which you perform in such a subtle and vivid way!
Warm greetings, Adriana Hölzky
The premiere of the Schwetziger Schloßfestspiele (Neue Musikzeitung)
Bass baritone Andreas Scheibner as Jan, and mezzo-soprano Ann-Katrin Naidu as Jennifer, brilliantly master their substantial radical roles, in which a controlled shift in their voices is often required.
The premiere of the Schwetziger Schloßfestspiele (Dresdener Neueste Nachrichten)
Even if they drift towards the final catastrophe with almost fatalistic equanimity, with their vocal presence, Andreas Scheibner and Ann-Katrin Naidu shine gloriously as lovers with sparkling little outbursts.
Dresdener Neueste Nachrichten
The premiere of the Schwetziger Schloßfestspiele (Pforzheimer Zeitung)
... and with Jennifer, the composer has created the ideal role for the smooth and richly coloured mezzo-soprano voice of the highly expressive Ann-Katrin Naidu, which made it somewhat difficult for the safe baritone of Andreas Scheibner as Jan.
On the concert performance of “Werther” in the Weimar National Theatre
Ann-Katrin Naidu, with her smooth, pure, immaculate voice and innumerable forceful moments of structuring, always harmonious even in moments of dramatic exaltation.
Ariadne auf Naxos
The cast in this opera house has never been better: Ann-Katrin Naidu is every composer's ideal singer, demonstrating blazing enthusiasm and elegance of line.
Jungfrau von Orléans (OPERA NEWS)
The lovely Ann-Katrin Naidu played Joan of Arc with fervour. Although the role requires her to pull out all the vocal stops, she did herself proud throughout.
Jungfrau von Orléans (Das Opernglas)
Ann-Katrin Naidu, as the Maid of Orleans, added a particularly sparkling star to the brilliance of the ensemble. By the sheer virtue of her charisma, she was the ideal personification of Jeanne d'Arc. Naturalness, youthfulness and beauty were combined with self-confidence, humility, and the ability to project her personality. Just as Jeanne d'Arc did with her sword, so the singer controlled her youthful voice safely and brilliantly. She was easily able to take up the contest with the orchestra, the attractive timbre of her voice standing out against the raging torrents of sound.
Jungfrau von Orléans (Münchner Merkur)
A victory without a sword or armour
The Maid of the Gärtnerplatz
Ann-Katrin Naidu is the imposing eponymous heroine, whose metallically scintillating mezzo-soprano voice climbs effortlessly into an exuberant soprano. Her voice, with its soft changes of register, its phrasing and diction, provides evidence of the best possible training. When her voice flashes like the sword, Tchaikovsky's "Maid of Orleans" has found the right interpreter. Although Ann-Katrin Naidu, from Munich's "Gärtnerplatz" theatre, had to get by without armour and glistening weapons, there was never any doubt about her victory. Presumably the fact that she is a member of the ensemble - starting next season, she will also be appearing at the State Opera House, the Gärtnerplatz's "big sister" - was the reason for again presenting Tchaikovsky's opera, which is so rarely produced, to the public in Munich, at least concertante.
Orpheus and Eurydike
Ann-Katrin Naidu as Orpheus is the dominating personality of the evening. Her bright, adaptable contralto floats effortlessly over the sound of the orchestra, yet its youthful force never has an insistent or forced effect.
There were loud cheers for the singers, above all for mezzo-soprano Ann-Katrin Naidu in the title role - with softly flowing tones and captivating intimacy - what a stroke of luck!
Abendzeitung / Distinction "Star of the week"
Mignon (Landshuter Zeitung)
Only Ann-Katrin Naidu as Mignon saved the evening - a magnificent vocal and acting performance which made the fascination radiated by this androgynous 19th century figure believable.
Mignon (Reichenhaller Tagblatt)
... Ann-Katrin Naidu, in the title role as Mignon, was radiant with her superb soprano voice and convincing acting ability. The ideal singer for the role!
Mignon (Neue Züricher Zeitung)
Thanks to the beauty of tone of her voluptuous mezzo-soprano voice, the eponymous heroine has no difficulty in standing out.
Neue Züricher Zeitung
Mignon (Münchner Merkur)
This was reason enough for the "Gärtnerplatz" to revive what had been forgotten, especially as, thanks to Ann-Katrin Naidu, the role is presented by a first-class singer. She credibly displays the change experienced by Mignon, as intended by the director, and does full justice to the musical aspects of the role. With her warm, even sensuously radiant mezzo-soprano which soars to superb heights with dazzling changes of register, she bewitches the public.
Mignon (Saarbrücker Zeitung)
The mezzo-soprano singer is not only beautiful, but equally attractive to listen to; with her consistent, rounded notes, extended phrasing and intense expression, the singer keeps Mignon's romance from succumbing to sentimentality.
Mignon (Das Orchester)
Thanks to the way she graces the stage, her acting and musical abilities and her pleasantly even mezzo-soprano voice, Ann-Katrin Naidu gave a convincing performance in the title role.
Mignon (Evangelischer Sonntagsgruß)
In contrast to this, the female producer of Mignon calls for a sensitive, more subtle performance whose standard can be measured against those of spoken theatre. Ann-Katrin Naidu personified the role of Mignon - this rootless being, driven by intolerable longing, "ni garáon, ni femme", with breathtaking suspense and the presence of a full voice.
Carmen (Landshuter Zeitung)
Casting Ann-Katrin Naidu as Carmen is absolutely right. The timbre of her voice makes the "Seguidilla" become the seductive song of the experienced gypsy woman, the one who dominates everything. When she dances for José in the second act, it is not only her voice which is graceful - so is her dance.
Die Csárdásfürstin (Orpheus)
In Ann-Katrin Naidu, the theatre has at its disposal an elegant and attractive performer who convincingly plays a central part and whose voice does full justice to the role, even in extreme registers.
Die Csárdásfürstin (Süddeutsche Zeitung)
As a mezzo-soprano, Ann-Katrin Naidu is a rather unconventional choice for the title role. Her voice is more voluptuous, full when singing the high notes, and extremely spirited in the chest register, which gives the mental independence of this Csárdás princess its own, quasi-emancipated touch.
The Marriage of Figaro
Ideal in the role: Cherubino, whose boyish, awkward movements were skilfully displayed by Ann-Katrin Naidu. At the same time, she knew how to present intensively, in musical terms, his first tender awareness of emotions.
Humperdinck, Hänsel and Gretel
... Ann-Katrin Naidu as Hänsel was new to the ensemble. Agile in her acting ability, a voice that is clear as a bell, a boy in every gesture and movement, and at the same time a fine mezzo-soprano voice with its easily-attained high notes and a middle register which is soft as velvet.
Christmas oratorio (Stuttgarter Zeitung)
Ann-Katrin Naidu, contralto, possesses brilliance combined with self-assuredness, but in addition she has a supple, warm timbre which was ideally suited to the tenor of Bach's arias.
Christmas oratorio (Holsteiner Bote)
In Ann-Katrin Naidu's voice there was something of that intangible charisma which conveyed something of the onset of the transcendence, the monstrous, an unearthly quiet, which, with her "Schlafe mein Liebster (= Sleep, my darling) she set against the surging instrumental movement.
... followed by the German premiere, in which Ann-Katrin Naidu, the young mezzo-soprano, was an ideal soloist. With her warm voice, discreet feeling for blues and her distinct English-language recitation, she succeeded in achieving precisely that balance between the intuition and thoughtful distance with which the text deals. As the enthusiastic and spontaneous applause showed, Ann-Katrin Naidu's natural performance succeeded in arousing a great deal of sympathy for this extremely current opus.
Saar music festival, radio concert
The concert gave Ann-Katrin Naidu an opportunity to shine with her voice, which easily reaches the highest notes. She sings confidently, the warm timbre of her voice recalling the young Berganza.