Raving reviews for Caroline Wettergreen's Queen of the night at the Glyndebourne Festival and at the Proms

© Glyndebourne Productions Ltd. Photo: Bill Cooper

"Best are the top and bottom of the cast, Caroline Wettergreen as a Queen of the Night who dazzles with her top notes, one of the best I have seen in 40 years!"

The Financial Times


"The real star of the production is Norwegian soprano Caroline Wettergreen as the Queen of the Night. This role has some gloriously high notes, but Wettergreen astonishingly replaced them with some even higher ones."

The Express


"Caroline Wettergreen’s elegant Queen, with even more stratospheric high notes than normal, is ambiguous, even sympathetic."

The Guardian


"The iron-strong cast makes for agreeable company, and it’s graced by another stratospheric outing for Caroline Wettergreen’s helium-fuelled Queen of the Night. As at the Royal Opera House, the Norwegian soprano delivers her moments with oompf, wow and pinpoint accuracy, and at the opening performance she even leapt up a cheeky octave at the end of “Zum Leiden bin ich auserkoren."



"Caroline Wettergreen had a plangent tenderness to match her spells of imperious fury. Her blistering "Der Hölle Rache" after the interval immaculately struck one bull’s-eye after another."

The Arts Desk


"..a Queen of the Night who combined needlepoint vocal daring with a surprising vulnerability."

The Spectator


"The two standout performances were Caroline Wettergreen as the Queen of the Night and Brindley Sherratt as Sarastro. Wettergreen made the Queen of the Night more sympathetic than the imperious figure we see in many productions, particularly during her first aria. The coloratura zipped along in ‘O zittre nicht, mein lieber Sohn’ and the aria had a white-hot elemental fury. The second aria was even better and the coloratura leaps and top Fs were deservedly greeted with ecstatic applause from the audience."

Seen and Heard International


"Caroline Wettergreen’s ambivalent Queen of the Night fearlessly commands the stratosphere, even interpolating extra high notes."

Evening Standard


"Caroline Wettergreen was a nuanced Queen who you might even have felt sorry for. Her effortless coloratura was precise and glittering."

Planet Hugill


"On-trend for moon-landing weekend, Caroline Wettergreen’s stratospheric Queen of the Night is an absolute show-stopper."

The Argus


"The strong vocal lines made this an unexpectedly immersive experience exploring what was a surprisingly rich complex score. Queen of the Night solo was a remarkable feat deserving of the rapturous and extended applause soprano Caroline Wettergreen received."

Thourougly Good


"The Queen of the Night provided incredible range, with impeccable coloratura, acting with energy and conviction."

Opera Actual


"The highest accolades go to Caroline Wettergreen’s Queen of the Night, with the beauty and control that she displayed in her coloratura making her a class act in every sense. It was also interesting to see how there was a certain sense of calm and understatement in her gestures in ‘O zittre nicht, mein lieber Sohn’, but that by the time of ‘Der Hölle Rache’ her ability to micromanage how she presented herself had given way to desperation, making her appear far more overtly forceful."

MusicOHM (Proms 51)


"..with genuine thrills from Caroline Wettergreen's Queen of the Night as a posturing Madame Upstairs: incandescence filling the hall, the top F full and brilliant, not just pipped out."

The Arts Desk (Proms 51)


"Caroline Wettergreen as Queen of the Night presents a suitably witchy figure in plum velvet and stops the show – as usual – with her glittering act two aria."

Lark Reviews (Proms 51)


"..her performance was refreshingly free of histrionics and steeliness – rather, her first aria was eloquently controlled, and the famous ‘Der Hölle Rache’ musically forthright, drawing some sympathetic engagement with the cause of a character who is here regarded as unjustifiably wronged."

Classical Source (Proms 51)

Raving reviews for Caroline Wettergreen as La Fée in Massenet’s CENDRILLON with Glyndebourne on Tour

Raving reviews for Caroline Wettergreen as La Fée in Massenet’s CENDRILLON with Glyndebourne on Tour

Outshining both of them, and the rest of the cast is Soprano Caroline Wettergreen as the Fairy, who dominates the stage whenever she appears.
The Reviews Hub

Coloratura soprano Caroline Wettergren as a suitably strange, coolly smoking Fairy Godmother (pictured above) strings together pearls on a line of absolute perfection.

Enlightenment took spectral form as Caroline Wettergreen illuminated the stage with a dazzling display of singing. In Massenet’s stratospheric notation her Fairy character is less a Godmother than a Queen of the Night, and the young Norwegian pinged a magical coloratura with preternatural accuracy. Indeed, the fast-rising (in every sense of the term) soprano outshone all her colleagues on opening night

Though the best performances come from Zwierko and Wettergreen. Wettergreen floats the Fairy’s coloratura with exquisite ease.
The Guardian

Caroline Wettergreen is near perfection as the Fairy, casting a spell over the audience with her top notes light as thistledown.
Financial Times

Both are outsung by the glittering Norwegian soprano Caroline Wettergreen as the fairy, oddly portrayed as a louche chain-smoker.
Sunday Times

The Fairy is brilliantly sung by Caroline Wettergreen, an excellent coloratura soprano of whom much more will be heard.
Daily Mail

Caroline Wettergreen’s vocally sparkling Fairy, nonchalantly drawing on a cigarette as she expounded the terms of the spell to Lucette, provided an elegant antidote.

Caroline Wettergreen fearlessly flying her coloratura hurdles as the Fairy Godmother
Daily Mail Online

Only in scenes featuring the Fairy Godmother – sung with effortless purity by soprano Caroline Wettergreen, and the ecstatic love duets between the neglected Cendrillon (Alix le Saux) and her depressed Prince, the ardent mezzo-soprano Eleonore Pancrazi, does magic emerge from the muddle.
The Stage

Caroline Wettergreen is the Fairy Godmother and brings authority and kindness to her role with a voice that never ceases to enchant.
Brighton & Hove Independent

As the Fairy – that is, Cendrillon’s Fairy Godmother – Caroline Wettergreen delivers the show-off coloratura with pinpoint panache, and I very much take to her mix of exasperation with and love for Cendrillon.
Classical Source

Caroline Wettergreen is spot on as the sparkling Fairy Godmother
The Telegraph

Caroline Wettergreen’s Fairy is mostly undaunted by the coloratura demands of her role; this young Norwegian soprano is another welcome first timer in this house.
Music OMH

Caroline Wettergreen’s stupendous (good) Fairy is tender, wise, supportive and loving. With the Norwegian and Danish-trained Wettergreen (who again took the same role for the Komische) rooting for her (Cincerella) – and if Massenet uses coloratura sparingly, it was simply stunning when she embarked on it, rather stylish and not overbearing – Cinders was always going to win.
Seen and heard international

Ann Hallenberg - Sensational reviews for "Carnevale 1729"-CD

Ann Hallenberg - Sensational reviews for "Carnevale 1729"-CD

"Her range, with astonishing evenness of tone and voluptuous colouring, extends from contralto to soprano, and her sublime artistry keeps the attention even during Orlandini's rapr Quanto bella agli'occhi miei, which, at nearly 15 minutes, is longer than any Handel aria. Hallenberg's alchemy turns this accomplished music to 24-carat gold."
The Sunday Times (UK) - Album of the Week

"Hallenberg draws us in when she seamlessly re-mixes her timbre, when her straight tone yields to vibrato, when she changes a tune heard seconds earlier. In bravura arias, virtuosity must serve expression, and in this art Hallenberg has no equal: from volleys of notes she crafts considered statements. She can colour her instrument, even within a few bars, to sharpen her dramatic point."
BBC Music Magazine (UK) - Recording of the Month

"Ann Hallenberg dazzles with sensational virtuosity and warm tone that is straight as a die, and Il Pomo d’Oro supports brilliantly."
The Guardian (UK)

"Mezzo Ann Hallenberg excels in her calm, warm-toned singing of the slower arias, and there are stylish accompaniments from Il Pomo d’Oro under Stefano Montanari."
The Financial Times

"If this type of program appeals to you, here it is perfectly presented in this recording made in Lonigo, Villa San Fermo in September er 2016. A unique issue!"
Classical CD Review (US)

"This is a superlative set that demands to be in every collection of Baroque opera enthusiasts. Were Ann Hallenberg working within the parameters of mainstream opera I have for some while had absolutely no doubt that she would be rated among today’s great singers.
Early Music Review (UK)"

"From start to finish Ann Hallenberg gives an inspiring performance overflowing with invigorating energy and especially impressive is her fluidity and the array of tone colours produced. With this stunning studio album of showstopping late-baroque arias Carnevale 1729 Hallenberg confidently maintains her elevated level of performance. One wonders where the Swedish mezzo will turn for her next project."
MusicWeb International (UK)

"Perhaps the eligible 1729 repertoire might have yielded some greater variety of instrumentation and dramatic moods, but such reservations evaporate at the sheer classiness of Hallenberg and Il Pomo d’Oro’s perfectly aligned dulcetness."
Gramophone (UK) - Editor's Choice

"Interacting easily here with the skilled instrumentalists of Il Pomo d’Oro, she shows complete technical mastery, with well-executed trills, skips, staccatos and impressive breath control."
Opera News (US)

"Ann Hallenberg mestrer musikken suverænt, og giver et flot tværsnit af den overdådighed som karnevalet 1729 havde at byde på."
Danish Radio (DK) - CD of the Week

"Mezzosopraan Ann Hallenberg brengt herontdekte werken van het jaar 1729 terug naar onze tijd, waarvan de meeste werken voor het eerst zijn opgenomen."
Classic FM (NL) - Album of the week

"Met een heel eigen donker stemgeluid zingt Ann Hallenberg vol overgave en met de vanzelfsprekende technische perfectie die we van haar gewend zein."
Tijdschrift Oude Muziek (NL)

"Duik in het Venetiaanse Carnaval van 1729, spectaculair vertolkt door mezzosopraan Ann Hallenberg en Il Pomo d'Oro."
NPO Radio4 (NL) - Prize cd of the week

"In dit razende In braccio a mille furie van Nicola Porpora komt het verschil met Cecilia Bartoli tot uiting. Hallenbergs zangkunst is subtieler maar zeker niet minder adembenemend in de acrobatische coloraturen. Net als bij Bartoli openbaart de schoonheid van haar stem zich vooral in langzame aria’s, waarin het niet zozeer aankomt op virtuoze bravoure als wel op lang uitgesponnen lijnen en een fijn spel met kleuren. Buitengewoon hecht is de samenwerking met het ensemble Il pomo d’oro onder leiding van Stefano Montanari. Na de onlangs verschenen maar al lang geleden opgenomen cd Farinelli laat de Zweedse mezzosopraan opnieuw van zich horen als een geduchte rivale van Bartoli."
Klassieke Zaken (NL)

"Der Vorhang hebt sich quasi mit dem Gesang von Ann Hallenberg. Ihre Stimme lockt den Hörer mit einschmeichelndem und charmantem Tonfall. In den leidend seufzenden Melismen lässt Ann Hallenberg mit bebender Stimme die Qualen unerwiderter Liebe aufscheinen und das vergebliche Sehnen nach Erlösung. Die schwedische Mezzosopranistin präsentiert sich in Bestform. Ob mit ihren locker leicht flatternden Tremoli, den mühelos dahinfließenden Läufen oder dem stilvollen Ausgestalten der verschiedenen Affekte. Mit ihrer ausgelassenen Spielfreude und dem Gespür für feinste Nuancen stehen die Musiker von Il pomo d’oro Ann Hallenberg gleichberechtigt und eindrucksvoll zur Seite. So wird der Karneval von 1729 auf dieser CD wieder lebendig – als rauschendes Fest für Ohren und Seele."

"Unbedingt hörenswert!"
Crescendo (DE)

"Hallenberg får allt att låta lekande lätt. Hennes teknik tycks fulländad, och så har hon en aldrig sviktande smak som förhindrar att det hela förfaller till rena uppvisningsnummer. Man kan bara beundra hennes vackra ton och fröjdas över en röst som trots sin styrka aldrig blir hård eller ansträngd eller förvandlar koloraturerna till kulsprutesmatter."
Kulturdelen (SE)

"Hallenberg överträffar sig själv likt en Sarah Sjöström i blixtsnabba koloraturtempi, perfekt kroppskontroll och frasering. Sammetsrösten är nästan perverst välegaliserad, från lägsta altregister till sopran, intonation och diktion fläckfri. Och hon förmedlar inte prestation utan renaste sångglädje, till synes lekande lätt. För mig leder hon med hästlängder över en Bartoli eller Kermes; hon står helt enkelt utom konkurrens."
Opus (SE)

Caroline Wettergreen - Queen of the night at Covent Garden

October the 7th 2017 soprano Caroline Wettergreen jumped inn and sang Queen of the night in Die Zauberflöte at the Royal Opera House Covent Garden on short notice.

The young singer is quickly making a name for herself and upcoming highlights include Queen of the night in Die Zauberflöte at the Glyndebourne Festival and at the Norwegian National Opera, Zerlina in Don Giovanni at the Norwegian National Opera, and Gretel in Hänsel und Gretel as well as Princess in Hans Abrahamsen’s new opera The Snow Queen at the Bayerische Staatsoper München.