song critics

on: "The Lost Song Settings" -
Texts by James Joyce set to music

   "It was a pleasure to hear (and to see) how intensively, technically controlled and formally committed Jahns interpreted this departure female innocence. The adieu from being a girl became a dark vocal ritual celebrating the passage into another world. Unforgettable !"
  M. Bäumel,
Dresdner Neueste Nachrichten Newspaper, 16.2.2000

on a recital of Schumann`s songs in
the lower chapel of the Church of Our Lady, Dresden
   "It was impressive with what relaxed composure Jahns performed these songs ...her unusually expressive alto voice added an extra dramatic (perhaps even demonic) dimension to certain songs, without the singer having to lay much on top. As a result the songs were transformed into a play of suggestive intensity. Jahns supported her vocal interpretation with sparse but intelligently employed gestures."
  P. Zacher
Dresdner Neueste Nachrichten Newspaper, 25.2.2000
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on the "Song in Dresden" Festival

   "The highpoint of the whole evening (and for me of the whole festival) was Annette Jahns` interpretation of Gustav Mahler`s "Kindertotenlieder". Without a doubt this mezzo-sopranist, with her great stage experience, unconditional expressivity, rigidity of gaze and audible fragility in her voice, probes the limits and makes listening almost unbearable."
  S. Graf
Dresdner Neueste Nachrichten Newspaper, 9.10.2000
  "As a song performer she also employs gestural and mimic forms of expression, next to her rich and imposing vocal capabilities, to bring the contents much nearer to the listener, but without putting herself in danger of obviousness or showy effects. An expecially moving example of her attitude was her novel and profoundly spiritualised interpretation of Mahler`s "Kindertotenlieder"."
  D. Härtwig
Sächsische Zeitung Newspaper, 9.10.2000
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on a concert with the
Musica Viva Ensemble Dresden
Saxon State Opera House, Dresden

   "Virtually spectacular was the rendering of the wood-pigeon's song from the "Gurrelieder" by Annette Jahns. It seemed to be tailor-made for her timbre and voice-control. Annette Jahns was able to display the dramatism of this work without the slightest difficulty. ..."
  Alexander Keuk
Dresdner Neueste Nachrichten, 1.10. 2001
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on: "Das Schlaue Füchslein" by Janacek,
Saxon State Opera House, Dresden

   "With Patricia Wise as the she-fox and Annette Jahns as the fox well up on worldly elegance, who evens uses a personal ad to look for his fox partner, we were presented with a marvellously attuned fox pair."
  G. F. Kühn,
Neu Zürcher Zeitung Newspaper, 28.5.1994
  "From the forest idyll right up to the first meeting between the forester and the young she-fox Schlaukopf, during the goings on around the forester`s house, from which the she-fox ultimately frees herself and returns triumphantly to liberty, where she meets up the charming young fox, in whomw she finds her partner for life (the latter role being filled according to Janaceks conception with a mezzo-soprano, namely the superb Annette Jahns)."
Neues Deutschland Newspaper, 18.6.1994
  "Patricia Wise is an attractive, albeit somewhat cool glistening she-fox Schlaukopf, Annette Jahns a snazzy, splendidly singing fox."
  E. Schwinger
Opernwelt Journal, Juli 1994
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on: "Orlando" by Vivaldi,
at the Wuppertal Theatre

   "They were forced - and were able - to hold their own against the art of the wonderfully versatile Annette Jahns: her aggressively comedian temperament, and her sheer endless, alto rich in colour."
  K. Kirchberg
Opernwelt Journal, August 1996
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on: "Die Bassariden" by Henze,
at the Saxon State Opera House, Dresden

   "Ulla Sippola as Agaue and Annette Jahns as Beroe made a strong impression."
  W. Wolf
Neues Deutschland, 12.2.1997
  "Annette Jahns beautiful mezzo was distinguished again."
  K. Geitel
Die Welt Newspaper, 8.2.1997
  "Annette Jahns mezzo-soprano, in the role of the nurse Beroe, with a voice that blazed with excitement and suffering."
  P. Zacher
Dresdner Neueste Nachrichten Newspaper, 8.2.1997
  "The clear-sighted Beroe was performed by the excellent Annette Jahns with fine, burning intensity."
  E. Schwinger
Opernwelt Journal, April 1997
  " Annette Jahns flaming alto voice and her dancing vocabulary of movement lend a certain mystery to the old servant Beroe which was maintained to the end."
  I. Tüngler
SFB Radio, 3.8.1997
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on: "Thomas Chatterton" by M. Pinscher,
première, Saxon State Opera House, Dresden

   "Astounding was also Annette Jahns playing Chatterton`s bigoted mother. Jahns` stage experience with contemporary music cannot be valued sufficiently."
  G. Blumenstein
Freie Presse Newspaper, 27.5.1998
  "Annette Jahn`s with her marvellous alto."
  G. Krieger
Hannoversche Allgemeine Zeitung Newspaper, 2.6.1998
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on: "Thomas Chatterton" by M. Pinscher,
at the Volksoper Vienna

   "Annette Jahns lends the mother her outstanding alto."
  G. Kramer, Die Presse Wien Newspaper, 22.5.2000
  "Urban Malmberg, who sang the leading part in Dresden, truly reveals all of the protagonist`s nerves, and appearing in the part of his mother Sarah Chatterton, Annette Jahns is a mezzo-sopranist whose name we do well to remember."
  P. Hagmann,
Frankfurter Allgemeine Newspaper, 26.5.2000
  "Annette Jahns impresses as the harsh mother dealing out the clouts."
  R. Kager,
Frankfurter Allgemeine Zeitung Newspapet, 7.6.2000

on: "Sieben Todsünden" by Pina Bausch

  ...Jo An Endicott's outstanding achievement of dance-expression was as euphorically celebrated by the audience as the vocal power of Annette Jahns as Annal...
  Klaus Keil, General-Anzeiger Bonn Newspaper, 4.11.2001
  This story is staged in such an imaginative manner that one is overwhelmed by the performance. All this was perfect and artistic...
  Lilo Weber, Neue Züricher Zeitung Newspaper, 17.10.2001
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chamber music
Annette Jahns
Laubegaster Str.5
01326 Dresden
Tel. 03 51 / 26 10 700