Experience the concert in Amsterdam on NPO Radio 4.

October 21, 2021 – De Singel Antwerp
October 23, 2021 – Concertgebouw Amsterdam
October 25, 2021 – Cologne Philharmonic
October 28, 2021 – Théâtre Municipal Raymond Devos Tourcoing
October 30, 2021 – Gran Teatre del Liceu Barcelona

LLEGIR.CAT, Albert Mena – November 2, 2021

„Tres protagonistes estel·lars van fer explotar la nit d’ahir: l’ensemble B’Rock Orchestra, el ja esmentat Jacobs i la soprano Kateryna Kasper com a reina Orasia. La soprano va mostrar un talent genuí per caracteritzar el personatge, aprofitant cada oportunitat que li brindava el text per oferir-hi detalls interessants, com a Furcht und Hoffnung, Hass und Liebe (por i esperança, odi i amor), on la soprano expressava el conflicte d’emocions modificant el timbre amb què emetia cada paraula, amb subtilesa variable però d’altíssim voltatge dramàtic. Això només és possible amb coneixement i control indiscutible de la pròpia veu i Kasper sabia el que feia, amb greus sonors i aguts penetrants, coloratura precisa i variada (sabia atacar les notes amb staccato, fer filats sense vibrato, fer coloratura de microtimbres… tot un reguitzell de tècnica que feia fondre les orelles) i una presència escènica encantadora.„

„Three stellar protagonists blew the roof off last night: the B’Rock Orchestra, the already mentioned Jacobs, and soprano Kateryna Kasper as Queen Orfasia. The soprano displayed a genuine talent for characterizing the role, seizing every opportunity the text offered to add interesting details, such as in Furcht und Hoffnung, Hass and Liebe, where she expressed the emotional conflict by altering the timbre with which she delivered each word – with variable subtlety but of the highest dramatic voltage. This is only possible with knowledge and unquestionable control of one’s own voice, and Kasper knew exactly what she was doing – with sonorous low notes and penetrating highs, precise and varied coloratura (she knew how to attack notes in staccato, let tones fade without vibrato, perform coloratura with micro-timbres… a whole array of technique that made the ears melt) – and a charming stage presence.“

©Bjorn_Comhaire

lavanguardia, Jordi Maddaleno – Oktober 31, 2021
„Magnificаla Orasia de la soprano ucraniana Kateryna Kasper, auténtica protagonista de esta ópera en un argumento que gira entorno a su amor no correspondido por Orfeo. Voz plena, timbre incisivo y técnica impecable, recibió las ovaciones de la velada„

“The magnificent Orasia of Ukrainian soprano Kateryna Kasper, the true protagonist of this opera centered around her unrequited love for Orfeo. With a full voice, incisive timbre, and impeccable technique, she received the ovations of the evening.”

***

bachtrack, Jens Klier – Oktober 26, 2021

„Unverwechselbar ist auch Jacobs‘ barocker und besonders Telemannischer Stil durch das bewusst einjaulend lautmalerische Ansetzen der von den Gefühlen übermannten Bösewichtin, der hier eindeutig die Hauptrolle zugewiesen ist und bei Kateryna Kasper eine Klasse für sich war. Sie stoß ihre sentimentalen Höhen der verständlichen Mord-Motivik, Zerrissenheit und Verzweiflung, mehr noch ihre Abgründe des berechnenden Anstiftens zum Töten eben in dieser speziellen Artikulation und aller auf sich ziehender, bestimmender Präsenz hervorragend aus und wirbelte im liebeskranken, divenhaften, kontraststarken, wahnsinnig geläufigen Umsichschlagen in beeindruckendem Registerumfang genauso ins gerechte Verderben der Orasia wie dadurch auf jeden Zettel eines Besetzers oder Agenten.“

„Jacobs’s baroque, and especially Telemann-esque style, is unmistakable through the deliberately howling, onomatopoeic delivery of the villainess overwhelmed by emotions, who clearly takes the lead role here—and Kateryna Kasper’s performance was in a class of its own. She projected the sentimental highs of the character’s understandable murderous motives, inner turmoil, and despair—yet even more so the depths of calculating incitement to kill—through this very specific articulation and commanding, all-consuming presence. In her love-sick, diva-like, highly contrasting, and impressively agile outbursts across a remarkable vocal range, she spiraled Orasia into a well-deserved ruin—and onto every casting director’s and agent’s radar.“©Bjorn_Comhaire

bachtrack, Nicolas Nguyen – 25 Oktober 2021
„With nine strongly contrasted arias, the role of Orasia is almost of Handelian format. Lyric soprano Kateryna Kasper projected the temperamental character with passion, sometimes calling on her chest register to distill some extra venom. She navigated her stylistically varied arias – two of which were in French and one in Italian – with unrestrained commitment. Her rendition of the coloratura-packed aria “Sù, mio core à la vendetta!” earned her loud applause from the audience. (…)“