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Katja Beer

What others think of me

The praise of love "…The singing and acting of Leonid Zachozhev and Katja Beer in the leading rolls were outstanding. The piece demands a great Heldentenor and a dramatic soprano. Without a doubt that was the right selection and furthermore, with the interpretation of the famous duetto in the second act, the sublimeness of love "Oh sink hernieder" and Katja BeerŽs interpretation of the death of Isolde "Mild und leise" they constituted mystic moments…"

El diario de La Plara" by Mario F. Vivino, September 2011


Tristan and Isolde "…The German singer Katja Beer as Isolde mastered one of the most demanding roles of the Hochdramatische Sopranfach (dramatic soprano) with major challenge of volume, resistance and color, with her powerful and substantial voice and superb figure…a performance that was 'in constant crescendo'!"

Cecilia Scalisi, La Nacion, August 2011


Excellent version of Tristan and Isolde "…Katja Beer is an excellent actress and presented a lovely Isolde with beautiful figure. With her very per-sonal timbre she gave a deeply convincing portrait of Isolde…"

Dr. Alberto Leal, Una Voce Poco Fa", Ntino de la Plata, August 2011


"...and then the end of these enchanting "Schubert and jiddishe Lieder": a lullaby as an encore... the musical journey led us into the Stetl and back with the "Kaddish" from Ravel smoothly merging into Schubert´s "An Mignon"... and "Die Forelle" into "Rabbi Motenyu"... Everywhere sparkled humour and melancholy. Katja Beer´s very high artistic level..."

Kurier, 21.6.2009 about the concert of Giora Feidman, Katja Beer, Marina Baranova, Gershwin Quartett in "Konzerthaus Wien" 19.6.2009


Beautiful seductive Salome.
"German soprano Katja Christine Beer´s Salome is the most beautiful woman ever. Her dance of the seven veils is the climax of the evening. She dances and floats seductively on stage, provokes king Herodes, displays her long slender legs until she wins everything she wants while posing bare breasted in front of him. Absolutely brilliant - it’s hard to decide which is more effective, the dance or the dazzling final monologue. Katja Beer masters the demanding part absolutely applaudable..."

Musikumschau Prag, Mai 09


Salome in Pilsen. "I observed the performance of the 21st April with Katja Beer giving the title heroine Salome. An absolute sensation!! If you want to see a beautiful, slender woman with a voice abundant in colour and range on stage, this opera is a must!..."

FUNK Prag (Ivan Ruml), Mai 09


"...On Premiere night, March 28th, the German Soprano Katja Beer sang the title role of Salome with an exceptionally high quality. Her wonderfully carrying voice, brilliant even in the highest register was as beautiful as her sensational and absolutely convincing acting. The overall impression of her was nothing less but gorgeous!!!"

Pilsener Tageblatt, April 09


Salomes ultramodern staging triumphs in Pilsen. "A moment of absolute silence – and then accumulating storms of applause and bravoes. Strauss´ Salome triumphed last Saturday in Pilsen... mainly due to the amazing accomplishments of Katja Beer as the title heroine. Her outstanding acting and singing caused the audience to hold its breath. While remaining absolutely souvereign in her singing skills, her acting changed from enchanting to ravishing – electrifyingly pulsating she demands the head of Jochanaan, and her game with Herodes is nothing less than homicidal. Katja Beer knows exactly who her Salome is, how she feels and what is causing her rise and fall. She is bored, offended, winning and losing everything. She loves and hates. The dance of the seven veils finally leads...to disrobing even the last veil (in Pilsen this means the black shiny robe)."

Junge Front von Heute (Gabriela Spalková), April 09


Is Salome a legend or is she present? "Pilsen performs one of the most demanding operas at highest stage... an absolute gigantic and ravishing performance was given especially by the title heroine, the brilliant German soprano, as fantastic in her vocal expression as in her acting.."

Pilsener Tageblatt (Petr Dvorak), April 09


"Katja Beer, impressed as the vital and life-loving stepmother, stimulated the situations on scene with her clear phrasing and convinced with vocal competence..." (Greek, Hannover Staatsoper)

Neue Presse, 17.5.2008


"four soloists who sometimes lament, sometimes declame, loose themselves singing littel arias, then again stammer and stutter. The duett of the two sphinxes is a little masterpiece, glamorously performed by Okka von der Damerau and Katja Beer..." (Greek, Staatsoper Hannover)

Hannoversche Allgemeine Zeitung, 17.5.2008


Spreediva is enchanting the audience "..apart from BeerŽs vocal bravura with which she mastered the most difficult different stilistic requirements, she proved her unquestionable talent as a champion of flirtation: with the charme as a real Berlin Diva she used her enchanting appearance to have a hot flirt with the audience while sweetly presenting PucciniŽs Aria "O mio babbino caro". Oh, it was to melt away!! Very touching also her fulminant finale in "Liebe, du Himmel auf Erden" from Franz Lehars "Paganini"."

Westfälisches Volksblatt (Matthias Lüke) 4.1.2008


"...Katja Beer not only added a smashing zest to these "hits" with her erotically powered presence.. she had her greatest moment in the famous Puccini aria "o mio babbino caro". Here her voice flowered based on her superior vocal technique into the moving sound of a full sopranic bloom.."

Lippische Landeszeitung, 3.1.2008 zum
Neujahrskonzert mit dem NWD, Leitung Dirk Kaftan



"...especially Katja Beer.. left a fabulous impression with scenes out of Verdi-operas. As Leonora of "Il Trovatore" she could be heard with flawless legato, effortless coloraturas, her beautiful voice carrying even in the softest piano."

Generalanzeiger Bonn, 14.12.2006


"…with Katja Beer Thomas Pursio as Bluebeird had a smashing dramatic soprano at his side who brought to life all the colours of her deadly journey as Judith, when she moved from boundless love to unending horror enthralling the audience...."

Lippische Landeszeitung 4.9.06


"…Katja Beer had this special presence throughout her acting. With her attractive appearance she communicated moments of sensuality, which were complemented by her full sounding soprano"

Sächsische Zeitung, 20/03/2006


"Light and darkness in Wagner's Tannhäuser – NWD orchestra, Choir of the Leipzig Opera and soloists achieve excellence, outstanding Katja Beer. … the unfulfilled loving Elisabeth was sung by Katja Beer, replacing Majken Bjerno who had fallen ill. She was the best cast of the evening: her powerfull soprano sounded full and round, the register changes seemed effortless. She had the strength to rise above the ensemble, and she delivered a brilliant characterization of the "Lichtgestalt" of the Opera. Her Duett with Tannhäuser was one of the most impressive scenes of the evening: once she barely whispered a tone in pianissiomo as if being overcome by shyness, just to attack in full voice only a moment later as though she had found the courage again to express her feelings for Tannhäuser."

Der neue Merker 7/05


"The vocal performance of Katja Beer as Senta was outstanding. Her voice is not only dramatic, but also incorporates all the necessary lyrical qualities without having to sacrifice either intensity or expansion. Her rendering of the ballad was exceptional and an undeniable climax, both in musical presentation as well as in acting. She completed her wonderful appearance with deep emotional play and convincing drama."

La Segunda 27.9.2004


"Salome is a bitch. Small wonder Katja Beer let it rip… The young soprano debuted in the lead role and did exceptional… She saved her breath for the 'Schlussgesang' (finale). Big voice, big passion, very sexy."

Westfälische Nachrichten 19.7.2004


"..allen voran Katja Beer, ausdauernd, kraftvoll und lyrisch zugleich in der anspruchsvollen Rolle der Salome. In den Höhen erst scheint sie zu reifen, sich frei zu singen, um das Timbre ihrer Stimme in die tieferen Lagen mitzunehmen. Wie eine Schlange kostet sie aus, was sie zu singen, verführt souverän, keineswegs naiv. Katja Beer hat die Salome im Griff. Ihr Schlussgesang ist leiser Wahn und Liebesgeständnis zugleich..."

Westfälischer Anzeiger 19.7.2004


"...und Katja Beer zeichnete die Lieder von Strauss und Berg in fein gefächerten Schattierungen; zarte Lyrismen standen so im Kontrast zu hoch dramatischen Darstellungen...beim Liederabend mit Gilead Mishory im Ruhrfestspielhaus..."

Recklinghauser Zeitung 5.4.2004


"... The surprise of Sunday night's performance was Katja Beer. Jetted in to replace the local Senta, who had fallen ill, Beer moved to Zargas' tightly conceived staging as though she had been there from the start. She has a light voice for a Senta but knows exatly what she's doing with it..."

Financial Times 17.6.2003


"...…particularly impressive is the performance of Katja Beer, who delved into the soul of Senta with burning intensity, not only hanging over an abyss (in the literal sense of the word), but also embodying dramatic contours in a psychological case study by means of her in all registers nearly flawless voice...."

Opernglas 11/2002


"...sowohl gesanglich als auch darstellerisch mehr als überzeugend: Katja Beer und Michael Connaire als Dienerpaar Quint und Jessel...

Hamburger Morgenpost 20.5.2000


"...Dieser Konzertabend der Extraklasse lebte von den Gegensätzen,...vom Heidenröslein und von Yankele, er lebt vom Wispern und Jubilieren von Feidmans Klarinette und Beers schöner Stimme..

Rhein-Sieg Anzeiger 21.5.1999


"...Katja Beer ist Meisterin ihres Fachs. Sie versteht das Vielschichtige der jubelnden Motette, Mozarts Exsultate Jubilate, auf die stilistische Reihe zu bringen...das koloratur-geschmückte Alleluja nutzte.sie.für sich und.zum Lobe Mozarts bis zur Neige aus."

Südkurier 11.12.1997


"...Und wie sie es bringt, mehr noch lebt..was Beer (bei Ravels Kaddish) andeutet, wenn sie ganz in der Melodie aufzugehen scheint, ist eine sängerische Kunst, die über das Handwerkliche hinausgeht. Sie scheint in diesen Minuten vor Trauer unzugänglich, wirkt wund und damit glaubwürdig, was sie trotz ihrer Jugendlichkeit jetzt schon mit großen Interpretinnen gemein hat, die ihr eine große Karriere (noch) voraus haben.."

taz Hamburg 17.5.1996