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Hintergrund mit Farbverlauf

SUNG MIN SONG

 

div.

<Die ganze Welt ist himmelblau>

Operetta-Concert

Württembergische Philharmonie 

Bildschirmfoto 2024-07-15 um 18.25.27.png

Tenor SUNG MIN SONG, convincing in opera and oratorio repertoire, also got huge acclaim for his operetta concert with the Württembergische Philharmonie Reutlingen: "shiny voice - effortless in the high register - elegant -rebirht of young Johannes Heesters..." "... The young SUNG MIN SONG lets his tenor shine, as if he were the rebirth of the young Johannes Heesters. Full of power and elegance, yet light and airy like a meringue his voice glides effortless through the high tessitura..." (Reutlinger Generalanzeiger)

Hintergrund mit Farbverlauf

AGNIESZKA HAUZER

 

von Weber

<Der Freischütz>

AGATHE

Theater Kiel

soprano Agnieszka Hauzer als Agathe in Weber's Der Freischütz am Theater Kiel - weißes Kleid - Kranz - Kostüm

Once more, soprano AGNIESZKA HAUZER convinced in a new role at Theater Kiel, where she is valued member of the ensemble since many seasons: "... beautiful voice - perfect vocal skills..." " "AGNIESZKA HAUZER has all the vocal skills to reveal the many facets of humanity beneath the prescribed shimmering out the human ...." / ".. Clear as a bell - AGNIESZKA HAUZER as Agathe..." "...like a character in an aristocratic parlour, also in arm posture and gestures, AGNIESZKA HAUZER acts as Agathe calmly and moulds her beautiful voice with care..." (from, Opernwelt, KN, Der Albrecht) photo: Olaf Struck

Hintergrund mit Farbverlauf

SARA-MARIA SAALMANN

 

Martín y Solér

<Una Cosa Rara>

GHITA

Staatstheater Meiningen

5_Una_cosa_rara_GP_Foto_Christina_Iberl_83.jpg
foto: Christina Iberl

As already for her debut as GHITA, mezzosoprano SARA-MARIA SAALMANN also received for her 2nd embodiment of the part wonderful reviews: "versatile and beautiful mezzosoprano, overbuilding temperament, fantastic dancer, all above, beats everybody else on stage... ".... First and foremost, Sara-Maria Saalmann as GHITA should be mentioned, who combines a well-focussed, versatile and beautiful mezzo-soprano with a dazzling joy of playing. And she even performs a Spanish dance with castanets!..." / "....Shrill, colourful, red-haired with an open-hearted cleavage, from which the artificial breast shines, SARA-MARIA SAALMANN can gyrate across the stage as GHITA. A paragon of temperament and peasant cunning, she shows everyone who is the boss. Her youthful and powerful mezzo-soprano beats everyone else on stage, but also the soft, flattering tones are very effective..." / "... And yet SARA-MARIA SAALMANN as GHITA is a stage miracle in terms of temperament and vocal conciseness..." / "... Above all, this lives from the exuberant singing of .... and SARA-MARIA SAALMANN as the young farmers' wife GHITA..." / "....wonderful, Sara-Maria Saalmann as light-footed and cheeky GHITA..." (from: Der Opernfreund / nmz / Die Deutsche Bühne / Klassikinfo, a.o.) Photos: Christina Iberl

Hintergrund mit Farbverlauf

SARA-MARIA SAALMANN

 

div.

<Zarzuela & More>

Summer Ball

Theater Eisenach

Bildschirmfoto 2020-06-30 um 14.00.59.png
foto: theater Regensburg

As already often, German-Spanish mezzosoprano SARA-MARIA SABATER SAALMANN also at the Summer Ball at Theater Eisenach enchanted the public with Zarzuelas: "...With charm and her tremendously beautiful voice she moved the hearts of the audience with Spanisch tunes, accompanied by the piano, and the encore, Gershwin's Summertime, accompanied by the orchestra" With more Spanish colour, SARA-MARIA SAALMANN can be heard and seen again next season, as GHITA in Martin y Soler`s "Una Cosa Rara" at Staatstheater Meiningen

Hintergrund mit Farbverlauf

ERIC JURENAS

 

John Adams

<El Niño>

3rd COUNTERTENOR

THE MET

23-04-2024

Countertenor ERIC JURENAS as 3rd Countertenor (Angel Gabriel, Holy King, Narrator) in his first Premiere at THE MET: John Adam's El Niño

"Life changing experience!" ERIC JURENAS convinces in his first MET-Premiere as 3rd COUNTERTENOR (Gabriel / Holy King / Narrator): “...Hail Mary, Gracious! features the voice of Gabriel as the three countertenors .... and ERIC JURENAS. Together their voices intertwined and naturally gave way to the miraculous announcement being shared with Mary, the news of her immaculate conception. “Hail Mary, Gracious!” might be one of the most critical moments in this opera due to the realization of Adams’s composition for three countertenors as a miracle in itself. Listening to these gentle timbres of immeasurable empathy was undeniably inspirational. .... and JURENAS became a unified presence for all voices to be heard. There were chills of excitement undulating in response to witnessing this live performance, knowing that moments like this are hard to even describe in words. Life changing!..." "...The three lithe countertenors ... and ERIC JURENAS, were most clearly in their element as the Tree Holy Kings, Caspar, Melchior and Balthasar, bringing their gifts of gold, myrrh and frankincense to the Christ child. Their unearthly sound was chilling —as it must have been for Herod when he heard them proclaim the child “the king of the Jews,” setting off his rampage..." .. Countertenors .... and ERIC JURENAS collectively created a glamorous, otherworldly Gabriel. The distinct timbres of their voices combining to create an intriguing, unfein whole. They were far more earnest and real-to-life as the Three Kings..." "... The trio of counter-tenors who collectively comprise the angel Garbiel (and separately play the three wise men) ..... join ERIC JURENAS in soft, shimmering harmony...." "... Countertenors .... and ERIC JURENAS navigated with ease, from embodying the celestial voice of Gabriel to that of the more earthbound Three Kings..." "...Despite the Teleetubbies aerial festooned headgear, .... and ERIC JURENAS were together a vocally convincing Gabriel..." "...A trio of countertenors, .... and ERIC JURENAS,filled several roles: They were narrators. They were the Three Kings. Together they were the angel Gabriel. The presentation of gold, frankincense and myrrh allowed each singer a solo turn ... but they were most effective when bound in Adams’s sleek harmonies...." (from Operawire / Broadwayworld / New York Classic Review / Observer / seenandheard-international / reaction-life / Washington Post) More about Eric Jurenas at: www.AYNpmn-Eric-Jurenas.blogspot.com

Hintergrund mit Farbverlauf

NATHALIE MITTELBACH

 

Prokofiev

<L'Amour des trois Oranges>

CLARISSE / LINETTA 

Theater Bremen

21-05-2024

Bildschirmfoto 2024-05-08 um 21.14_edite

Back from her materniy-break, NATHALIE MITTELBACH convinces in her 3 parts in Prokofiev's "L'Amour des 3 Oranges" - as PRINCESSE CLARISSE, LINETTA and EXCENTRIC WOMAN with "captivating tones": "... With a dozen almost equally important characters, this opera is an ensemble piece par excellence. In the Theatre at Goetheplatz, all the actors, often in several roles, are on their toes. Mezzo-soprano NATHALIE MITTELBACH as CLARISSE in black-and-white costume finds captivating intriguing tones..." "... With ..... Nathalie Mittelbach as Clarisse ... and others, Theater Bremen presents a fantastic ensemble..." "... The 2 princesses Linetta und Nicoletta (Nathalie Mittelbach and ....) with a nectar-sweet duet..." (From: Der Opernfreund / Concerti / Weser Kurier) More about Nathalie Mittelbach at: www.AYNpmn-Nathalie-Mittelbach.blogspot.com

Hintergrund mit Farbverlauf

RAFAŁ TOMKIEWICZ

 

Händel

<Amadigi di Gaula>

AMADIGI

Intern. Händelfestspiele Halle

24-05-2024

Countertnoer RAFAL TOMKIEWICZ in the title-role of AMADIGI in Händel's Amadigi id Gaula at the Internationale Händelfestspiele Halle - ALL YOU NEED personal management nicolai - AYNpmn - Jolanta Nicolai
photo: Oper Halle

"... Fascinating - perfect casted - an experience - without doubt, TOMKIEWICZ belongs to the top representatives of the countertenor-voice..." Bravo, RAFAL TOMKIEWICZ! Also in his 3rd production of Händel's AMADIGI di Gaula - at the Inteernationale Händelfestspiele Halle - the Countertenor receives overwhelming reviews for his interpretation of the TITLE-PART: "...Rafał Tomkiewicz shines in the title-part ofAMADIGI with his agile countertenor, which has sufficient volume in the low register, as well is very enormous power in the high register. Especially, his great Lamento-Aria "Sussurrate, onde vezzose", when he mourns the loss of his beloved Oriana, and onomatopoeically takes on the sound of rushing water, remains in the ear. And he thrills with radiant coloratura in the final aria "Sento la gioia", when Amadigi praised his regained happiness with apparent lightness.." / "....Polish Countertenor RAFAL TOMKIEWICZ in the title part of AMADIGI can use all his experiences with this part, which he already performed with Staatstheater Meiningen and the National Opera Sofia. He fascinates with his well-timbered, supple voice, which on the same time is powerful. Without doubt, Tomkiewicz belongs to the top representatives of this still booming voice type..." / "... Absolutely perfect casted... AMADIGI with the Polish countertenor RAFAL TOMKIEWICZ. With a very versatile voice and at the same time incredible perfection, he performed the entire range of Handel's effects with virtuosity. From angry outbursts to atmospheric evening arias. Truly an experience!..." / "...For the title character of Amadigi, Polish counter RAFAL TOMKIEWICZ can not only contribute a well-timbred, powerful voice, but also his role experience, performing the part for the 3rd time..." / "... RAFAL TOMKIEWICZ as Amadigi with a soft-toned countertenor; with a slight tendency towards permanent excitement..." // "...The singing is brilliant. RAFAL TOMKIEWICZ intensifies his already bravura performance in Meiningen. and ingratiating portrayal of Amadigi..." (OMM, nmz, Concerti, FAZ, Deutschlandfunk, Opnerwelt, a.o.)

Hintergrund mit Farbverlauf

ANNA-MARIA DUR

 

Puccini

<Il Trittico>

FRUGOLA, PRINCIPESSA, ZITA

Nationaltheater Weimar

18-05-2024

Mezzosoprano ANNA-MARIA DUR as La Frugola, Zia Prinzipessa and ZITA in Puccini#s "Il Trittico" at Deutsches Nationaltheater Weimar - ALL YOU NEED personal management nicolai - AYNpmn - Jolanta Nicolai
fphoto: Deutsches Nationaltheater Weimar

"... absolutely brilliant, in every aspect...." As already with her interpretation of ZIA PRINCIPESSA and ZITA in Puccini's "Il Trittico" at the Tiroler Landestheater Innsbruck, ANNA-MARIA DUR was highly convincing and celebrated by the audience at the Deutsches Nationaltheater Wiemar, and received again fantastic reviews, also her new part of LA FRUGOLA in "Il Tabarro": "... As Zia Principessa brilliant in every aspect - the great ANNA-MARIA DUR..." / "...The wonderfully comedic ANNA-MARIA leads the relatives as Zita..." / ".... Finally, above all, the fantastic ANNA-MARIA DUR, who characterizes evil or gossiply women in all 3 operas. Indeed, a great, sumptuous operatic pleasure..." / "... It's seldom, that only one mezzosoprano sings alls 3 parts, of La Frugola, Zia Principessa and Zita. ANNA-MARIA DUR takes this challenge and delivers all 3 parts in a stupendous way. Brava!" (BR, Klassik begeistert, Concerti)

Hintergrund mit Farbverlauf

ANASTASIYA TARATORKINA

 

Verdi

<Falstaff>

NANNETTA

Intern. Maifestspiele Wiesbaden

01-05-2024

Soprano Anastasiya Taratorkina as NANETTA in Verdi's FAlstaff bei den Internationalen Maifestspielen am Hessischen Staatstheater Wiesbaden - ALL YOU NEED personal management nicolai - AYNpmn - Jolanta Nicolai
photo: Staatstheater Wiesbaden

Brava, soprano ANASTASIYA TARATORKINA. Also her 13 (!) role debut, NANNETTA in Verdi's "Falstaff", at the Hessisches Staatstheater Wiesbaden was an overwhelming success: „… ANASTASIYA TARATORKINA as her daughter Nannetta has a youthful, fresh voice, with which she enchants the audience especially in the 'Elfenlied' in the III. act..." / "... ANASTASIYA TARATORKINA is the silvery-voiced daughter Nannetta..." / ".... Similar fresh and brisky, ANASTASIYA TARATORKINA performed the young Nannetta..." / "... while the women, ANASTASIYA TARATORKINA as Nannetta, ....., compensate for their unfulfilled desires in an extremely agile and a top-class manner ...." / "... The rest of the ensemble has less fun. Those, who can handle the freedom the director gives them, romp around the stage, dancing and singing, flirting and giggling to their heart's content..... Music and independent acting are best combined by... and ANASTASIYA TARATORKINA (Nannetta)..." / „… all above…..the sporty and brilliant Nannetta by ANASTASIYA TARATORKINA …. and Romina Boscolo as interesting timbred Mrs Quickly…“ (FAZ, Frankfurter Rundschau, Concerti, Der Opernfreund, Klassik.com, Rhein-Neckar-Zeitung)

Hintergrund mit Farbverlauf

ROMINA BOSCOLO

 

Verdi

<Falstaff>

MRS QUICKLY

Intern. Maifestspiele Wiesbaden

01-05-2024

Contralto Romina Boscolo as Mrs QUICKLY in Verdi's "Falstaff" at the Internationale Maifestspiele Wiesbaden at Hessisches Staatstheater Wiesbaden - ALL YOU NEED personal management niocolai - AYNpmn - Jolanta Nicolai
fphoto: Staatstheater Wiesbaden

Huge success for Contralto ROMINA BOSCOLO as outstanding Mrs. QUIKCLY in Verdi's "Falstaff" at the Internationale Maifestspiele at Staatstheater Wiesbaden: "... ROMINA BOSCOLO as Mrs Quickly presents another astonishing performance with terrific depths. She also dances briefly on pointe, Just as everyone jumps and dances as they are given to do..." / „… Also ROMINA BOSCOLO, who sings her Mrs Quickly with a dark-jiucy alto. Waht a joy to listen to her!…“ / "... And they all want to sing, and they do so with a strong character: ROMINA BOSCOLO pulls the strings of Mrs Quickly with her abysmal and rich alto..." / "... while the women ... ROMINA BOSCOLO as Mrs . Quickly....., compensate for their unfulfilled desires in an extremely agile and, for a short time, proverbial top-class manner under the guise of a funny play...." / "... above all .... and ROMINA BOSCOLO's distinctively timbred Mrs Quickly..." / "...It is a great joy to watch and listen to ROMINA BOSCOLO in the role of Mrs Quickly...." (Der Opernfreund / FAZ / Frankfurter Rundschau, Klassik.com, Concerti, Kultura Liberalna )

Hintergrund mit Farbverlauf

MEILI LI

 

Vivaldi

<L'Olimpiade>

LICIDA

Irish National Oper & ROH

20-04-2024 & 13-05-2024

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foto: Irish National Opera

What an overwhelming success for countertenor MEILI LI, making his role debut as LICIDA in Vivaldi's "L'Olimpiade" and his house-debut at the Irish National Opera, and returning to the ROH Covent Garden: "... A standout performance from MEILI LI - Countertenor MEILI LI exemplified the first case with a fabulous singing portrait of LICIDA, in which he often appeared nonplussed by the complex goings-on of which he was often in the dark, and to which he even added the occasional moments of humor. His voice possesses a beautifully clear, consistent, homogenous tonal quality, which he used with a wonderful degree of agility to craft detailed vocal lines full of subtle accents, dynamic inflections and delightful ornamentations to express his feelings. Recitatives were sung with clarity and meaning, and the arias were expertly fashioned to bring out his layered emotions. His treatment of the aria “Mentre dormi, Amor formenti” was beautifully presented and proved to be one of the high points of the evening. Against the background of a sensitive orchestral accompaniment, he spun out wonderfully crafted phrases that showed off his pleasing legato, tonal consistency and ability to embellish the line, which successfully captured the full emotional force of the aria...." (Operawire) "... MEILI LI als LICIDA stands out, conjuring lyricism from his great resources of agility, dynamic control and freshness in tone. (The Irish Times) "...There’s some superb singing. Countertenor MEILI LI makes an outstanding LICIDA. His is a glorious voice, warm in tone, and evenly produced – Mentre Dormi really is the breathtaking moment it should be..." (The Guardian) „...Gold medal for Irish National Opera's L'Olimpiade at Covent Garden .... Countertenor MEILI LI was an excellent LICIDA, his fine tone and line bringing much pathos to the confusions of his amorous ambitions...” (Bachtrack) "...L’Olimpade’s superlative ensemble infusing warmth, pain and playfulness into each note, with ... MEILI LI marrying delicacy with power....production with exceptional singing and playing....” (thetheatrereview) „...As Licida, MEILI LI combines a spirited performance with an almost spiritual countertenor, as his ethereal sound is matched by the level of consistency he achieves across the evening...” (Opera Online) “....Forget Paris! Vivaldi’s Olympiade drama has more propulsive energy than any games.... ... with outstanding clarity by countertenor MEiLI LI as the poor LICIDA....” (The Telegraph) “... There are too many highlights to list, but Countertenor MEILI LI wins a deserved round of applause for this outstandingly delicate artistry in the aria ...” (The Stage) “... countertenor MEILI LI shines as LICIDA... ... radiant in his second aria... ... he was able to make the most of the quiet moments and provided dynamic and emotional range. ..” (London Unattached) “... Medals all round for Vivaldi’s Olympic Drama - ....second collaboration of INO with the Royal Opera House, on some lesser known Vivaldi after their award winning staginG of in 2022 .... ....resounded with some excellent singing and even better acting...” (The Times)

Hintergrund mit Farbverlauf

RAFAŁ TOMKIEWICZ

 

Händel

<Susanna>

JOACIM

Capella Cracoviensis

09-05-2024

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foto: privat

Bravo, Countertenor RAFAL TOMKIEWICZ, who presented JOACIM in HÄndel's oratorio in a perfect way, accompanied by the Capella Cracovienisi in the Kraków Philharmony: "... countertenor Rafal Tomkiewicz was in phenomenal form! With his technique beating the current countertenor stars, he delivered his aria 'On the rapid whirlwind's wing' thrillingly..." (Ruch Muzyczny)

Hintergrund mit Farbverlauf

SARA-MARIA SAALMANN

 

Puccini

<Madama Butterfly>

KATE PINKERTON

Staatstheater Meiningen

12-04-2024

mezzosoprano SARA-MARIA SAALMANN - ALL YOU NEED personal management nicolai
foto: Christina Iberl

Although appearing only a small part, mezzosoprano SARA-MARIA SAALMANN received great reviews for her interpretation of KATE PINKERTON in Puccini's "Madama Butterfly" at Staatstheater Meiningen, staged by Hendrik Müller: ",,, During the brief appearance of Sara-Maria Saalmann as KATE PINKERTON, who masters very convincingly the arrogant habitus of some US-Americans, one regrets above all ,that she has so little to sing..." "...Sara-Maria Saalmann as his wife KATE PINKERTON embodies the perfectly styled arrogant American girl, who wants to deal with this troublesome story in a distanced manner and with as little fuss as possible. Also this supporting role is effectively and excellently cast and Sara-Maria Saalmann impressing..." "...All in all, Meiningen could celebrate a remarkable ensemble performance. Sara-Maria Saalmann unfortunately only made a brief appearance as Pinkerton's wife KATE. ..." "... One is impressed by the vocal and theatrical artistry of the singers; even in the smaller roles.... Huge applause and cheers at the end..." (concerti, nmz, der opernfreund, die mainpost) photo: Christina Iberl PERFORMNACES: 12-04-2ß24 14-04-2024 17-05-2024 26-05-2024, 3pm 08-06-2024 15-06-2024 More information: https://www.staatstheater-meiningen.de/produktionen/madama-butterfly.html?ID_Vorstellung=9742&m=612 WEBSITE HENDRIK MÜLLER: www.AYNpmn-Sara-Maria- Saalmann.blogspot.com

Hintergrund mit Farbverlauf

HENDRIK MÜLLER

 

Puccini

<Madama Butterfly>

STAGE DIRECTOR

Staatstheater Meiningen

12-04-2024

Madama Butterfly-Staatstheater Meiningen-Regie HENDRIK MÜLLER  - ALL YOU NEED personal management nicolai
foto: Rob Davisdon

First reviews for stage director HENDRIK MÜLLER's production of Puccini's "Madama Butterfly" at Staatstheater Meiningen, which surpised with its end. "Congenial - This is, how you get young people into opera!" "...Once again, director HENDRIK MÜLLER and his congenial team,that opera can inspire. With every new production of , it is not so much the what of the story that is exciting, but the how. There is no historical realism, that forces Puccini's successor into a corset, because that would leave this opera in rigor mortis, in terms of plot and characters. Cio-Cio-San is undoubtedly the main character, but she does not always have to be seen as the pitiable victim. This is precisely director HENDRIK MÜLLER's idea of his Butterfly. The fantasy and dreams of this young woman dominate everything from the very first moment. With a huge video projection of her face in black and white, in which the eyes already tell a story, you are drawn into her psyche and from then on you can no longer escape this immense fascination and obsession. HENDRIK MÜLLER stages everything precicly, and the result is a magical symbiosis between dramatic acting and highly emotional music, a very appealing surrealistic stage set and the changing colours and the changing colours of the sky in the background. American and Japanese clichés are used with a wink, without appearing ridiculous or even silly. MÜLLER and his team once more transform grand opera into grand cinema, without kitsching it up.... .... When the curtain rises, one sees amazed the gentle landing of an astronaut from the starry sky as we know it from the landing on the moon in 1969. The American flag on foreign soil becomes a symbol of hope.... ..... Pinkerton's house, by the way, an interesting slanted tableau in shades of pink with various levels, steps and a view over a railing into the horizon. This setting will remain and only change through light and colour.... .... In contrast to the imaginative kimonos and the elaborate hairstyles and masks the groom with his Trump hairstyle in a smart pink and green striped suit looks like a comic figure. .... Because Cio-Cio San has secretly converted to Christianity in order to "Americanise" herself, she is cursed by the priest Bonzo and poured all over with slime...3 Years have passed ... An US ship arrives... Are appearances deceptive or has Pinkerton really returned to his wife and child? It was just a dream. And again the huge video projection of Butterfly's face appears, mask-like, but the language of the eyes is different: disappointment, sadness and pain quietly erase every emotion... .... The sparing actionism of the direction leaves room, to consciously perceive the music in every phase of the events.... ... This new production leaves a glowing impression, enthusiasm, huge applause and respect. How do you get young people into the theatre? Like this!..." ."..Madama Butterfly is in the land of manga.... .... timelessly exotic fantasy world ... Construction of hermetically sealed cloud cuckoo land .... The heroine's loss of reality... The director's idea of setting the action in a fantasy world, is ingenious: Barbie and Ken in the world of Japanese manga comics: Pinkerton lands as an American astronaut on the quirky roof garden of his future estate, encounters all kinds of amazingly costumed creatures, but views the whole thing with an arrogant 'America first' gesture and returns at the end with an American Barbie. Cultural arrogance - satirically exaggerated. This provides colourful fantasy images against a truly threatening cloudy backdrop.... The ending is powerful... Huge cheers..." "... Puccini's tear-jerking tragedy Madama Butterfly is staged by HENDRIK MÜLLER and his team at Staatstheater with ironic exaggeration and clear criticism of the USA... ....Family idyll under the US banner. In this ambience in front of a projected sky, between the twinkling stars at night and colourful clouds, director HENDRIK MÜLLER tells the story in a quite conventional way, with small references to the present, such as a toy space shuttle for the son of Pinkerton and Cio-Cio San. Even the replacement of the old rich prince Yamadori by a pop singer with a boy band also points in this direction... ... Here Butterfly is a woman, who is by no means just the victim, but is pursuing her own (life) plan. This includes breaking with her family and with her family and her origins as well as well as the use of a child to push through her plans... The fact that the son only appears in the dream of the family idyll as a living child, and otherwise only as a doll .... is also part of the great distancing from the sentimental, tear-jerking image of the opera... Cheers for the music, the protagonists .... and the production team .... " "... Hendrik Müller (director) brings Pinkerton to Japan, but not as a naval officer across the sea. Here he floats in from above. From outer space. In a space suit, he lands in the world of Cio-Cio San.... ... When her relatives arrive, led by her priest uncle Bonzo, who breaks up the wedding ceremony with a veritable curse, with which he casts out Cio-Cio San, it becomes clear that this is an outdated society itself desperately fighting against its downfall, i.e. its transition into the modern age... ... This is unmistakable on the stage. A house with a Far Eastern feel, almost sunken, with a sloping roof terrace on which a starry banner has been planted like after the first moon landing... .... The director uses exaggeration to create a distance from the staging cliché of this opera, which premiered in 1904.... (e.g. there is) a puppet substitute for Butterfly and Pinkerton's son. He only becomes a living person in the dream sequences of the family idyll under the twinkling stars at night. Butterfly, of course, sets her son without any particular scruples as a weapon in the struggle to realise her life plans, which, as we all know, she fails at... ... As self-confident in the play ... as Cio-Cio San upgrades to Turandot format, she is less a young victim, but rather a pathological case of denial of reality. A somewhat quirky, but definitely an approach worth considering..." (der opernfreund, concerti, nmz, die mainpost) PERFORMNACES: 12-04-2ß24 14-04-2024 17-05-2024 26-05-2024, 3pm 08-06-2024 15-06-2024, 7:30pm More information: https://www.staatstheater-meiningen.de/produktionen/madama-butterfly.html?ID_Vorstellung=9742&m=612 WEBSITE HENDRIK MÜLLER: www.AYNpmn-Hendrik-Mueller.blogspot.com

Hintergrund mit Farbverlauf

ANASTASIYA TARATORKINA

 

von Weber

<Der Freischütz>

ÄNNCHEN

Staatstheater Wiesbaden

17-03-2024

soprano Anastasiya Taratorkina  - Der Freischütz - Ännchen - Staatstheater Wiesbaden - ALL YOU NEED personal management nicolai
foto: Lena Obst

Also ANASTASIYA TARATORKINA's 13th role-debut at Staaatstheater Wiesbaden, ÄNNCHEN, was a huge success for the soprano: "... Pure vocal felicitousness from Anastasiya Taratorkina as ÄNNCHEN, who performs her arias as natural, as if they were Art-Songs..." "... ANASTASIYA TARATORKINA's brillant and warm soprano.... and she also is an enchating actress..." ".... Anastasiya Taratorkina as enchanting tomboyish ÄNNCHEN .... is in her role-interpretation more than just Agathe's best friend ... "... With an enticingly beguiling vocal sound, she catapults with glamour and lightness a luminous firework to the audience... Listening to her is delightful and extremely refreshing..." "...ANASTASIYA TARATORKINA, a - also vocally - not only cute ÄNNCHEN..." (FAZ, FR, WK, IOCO)

Hintergrund mit Farbverlauf

KIRSTIN SHARPIN

 

Wagner

<Tristan & Isolde>

ISOLDE

Oper Wuppertal

24-02-24

soprano KIRSTIN SHARPIN - Richard Wagner - Tristan und Isolde - ISOLDE - Oper Wuppeertal - ALL YOU NEED personal management nicolai - Jolanta Nicolai
foto: Rob Davisdon

As already in her ISOLDE debut, KIRSTIN SHAPRIN also in Wuppertal, her 2nd production of Wagner's masterpiece, was praised for her interpretation of ISOLDE: "... Kirstin Sharpin in the role of ISOLDE undoubtedly is the star of the evening. She follows on from her glittering role debut in 2022, and is also still at the beginning of her Wagner career. The enormous lightness of her voice is captivating, and even after 5 hours it is still perfectly modulated. The lyrical passages are perfect, her high notes are radiant and she is also easy to understand. She brilliantly masters one of the greatest and most difficult roles in the operatic repertoire..." "... Kirstin Sharpin with great vocal potential for this part and with a powerful and highly convincing interpretation of ISOLDE..." "...The singers were excellent... and even more, his ISOLDE (Kirstin Sharpin). Her large, but beautifully round voice effortlessly overcame the full orchestra, and she delved into every corner of her role until she coincided with it..." And at her debut in 2022, the press wrote: "... powerful voice ... convincing actress ... differentiated ...copes effortlessly with the huge Wagner-orchestra ...she delves into every psychological corner of her part, until she is coincided with it ... huge, round, but yet young sounding soprano - homogenous, perfect conducted voice..." "... With her wonderfully homogenous, beautiful young-sounding, perfectly conducted soprano, Sharpin shows with her very differentiated singing clearly the development of the King's daughter ISOLDE. In the , she has lyrical depth with which she vultures the resolution in the death. After that, there is a long silence,before the long-lasting, frenetic applause and cheers begin, accompanied by standing-ovations..." KIRSTIN SHARPIN's next ISOLDE: Theater Regensburg. 22-09-24 28-09-24 06-10-24 12-10-24 20-10-24 26-10-24 01-11-24 23-11-24 14-12-24

Hintergrund mit Farbverlauf

JIHYUN CECILIA LEE

 

Stravinsky

<The Rake's Progress>

ANNE TRUELOVE

Staatstheater Augsburg

20-01-2024

soprano Jihyun Cecilia Lee   - ALL YOU NEED personal management nicolai
foto: Jan-Pieter Fuhr

Fantastic reviews for JIHYUN CECILIA LEE's debut as ANNE TRUELOVE in Augsburg: ".... With JIHYUN CECILIA LEE the role of ANNE was brilliantly cast. Dramatic, clearly articulating and variable in all registers, she brings emphasis to the part, making arias and duets shine brightly..." "... Tenor Sung Min Song in the title role of the wicked Tom Rakewell and his compatriot JIHYUN CECILIA LEE as the selfless ANNE TRUELOVE thrilled the audience with their flawless voices and unusually intense acting..." (BR Klassik, Bayerische Staatszeitung)

Hintergrund mit Farbverlauf

SUNG MIN SONG

 

Stravinsky

<The Rake's Progress>

TOM RAKEWELL

Staatstheater Augsburg

20-01-2024

tenor SUNG MIN SONG  - ALL YOU NEED personal management nicolai
foto: Jan-Pieter Fuhr

Overwhelming success for SUNG MIN SONG as TOM RAKEWELL in Augsburg, marking his role-debut: "...Above all SUNG MIN SONG, who is an ... ideal TOM, youthful and adventurous, playful but prone to melancholy moments. His tenor never tires in the extensive part, always sounds clearly secure in the high register, and warm when required..." "... SUNG MIN SONG sings TOM with a clear and secure tenor and cutting intelligence, which is reminiscent of the young Gerhard Stolze in its conciseness and sharpness..." "... Tenor SUNG MIN SONG in the title role of the wicked TOM RAKEWELL and his compatriot Jihyun Cecilia Lee as the selfless Anne impressed with their flawless voices and unusually intense acting..." "... SUNG MIN SONG, the young tenor, is versatile and secure, with a pithy, powerful chest tone of euphoria, shaping RAKEWELL's emotional ups and downs between exaltation and rapid onset of inner doubt to the final purification..." "...SUNG MIN SONG as TOM RAKEWELL convinces vocally with his metallic mellifluousness, playfully with the feverish search of the restless one..." (Opernwelt, BR Klassi, OnlineMerker, Bayerische Staatszeitung, Donaukurier)

Hintergrund mit Farbverlauf

ANASTASIYA TARATORKINA

 

Händel

<Symphony-Concert>

SEMELE, ROMILDA, CLEOPATRA

Concert Hall Casino Wiesbaden

21-02-2024

soprano ANASTASIYA TARAToRKINA  - ALL YOU NEED personal management nicolai
foto: private

Great review for ANASTASIYA TARATORKINA's interpretation of arias from CLEOPATRA, ROMILDA and SEMELE, named an "exceptional Händel singer", performing a pasticchio composed of Händel's "Semele", "Giulio Cesare" and "Xerxes" in the 4th Symphony Concert of the Hessisches Staatsorchester: "Anstasiya Taratorkina shows great creative power ... Händel forms the centrepiece of the concert. With arias from the oratorio SEMELE and the operas GIULIO CESARE and XERXES, Jughänel has put together a small pasticchio, a kind of miniature plot... Soprano ANASTASIYA TARATORKINA, member of the Wiesbaden State Theatre ensemble since 2022/23, is an exceptional Händel singer with great emotional power and vocal variability. She spans beautiful melodic arcs in clear, carrying pianissimi. Jupiter's proclamation of Semele begins with a daring jump upwards, as the king's daughter wants to soar to immortality in union with the highest god.... Simply and grandly, Taratorkina voices Cleopatra's alternative between fulfilled love or death; and in unisono with the first violins and in an extremely high tessitura, she laments the torment of jealousy as ROMILDA..." (Wiesbadener Kurier)

Hintergrund mit Farbverlauf

ERIC JURENAS

 

CD

Susanne Farin

<Dolce La Morte>

Mono-Opera for Countertenor

poems by Michelangelo

countertenor ERIC JURENAS - CD - S. Farin - Dolce La Morte - New York City - ALL YOU NEED personal management nicolai - Jolanta Nicolai
foto: Rob Davisdon

Great reviews for Countertenor ERIC JURENAS, being called a "fascinating singer with an almost unbearably gorgeous timbre..." in Susanne Farin's "Dolce La Morte" on CD, as well as with METLiveArts, Ensemble TALEA at diMenna Center, NYC and again with the International Contemporary Ensemble at the Miller Theatre / Columbia University; being on the THE NEW YORKER's List of "Notable Performances & Recordings": "... ERIC JURENAS, a fascinating singer with an almost unbearably gorgeous timbre... who's voice blended marvelously with the oboe and bassoon..." "The performances, by ERIC JURENAS and members of the International Contemporary Ensemble conducted by David Fulmer are extremely skilled and well captured on disk.... crystal clear..." Listen at: https://www.newfocusrecordings.com/catalogue/suzanne-farrin-dolce-la-morte/ (operamblings, Oberon's Grove)

Hintergrund mit Farbverlauf

RAFAŁ TOMKIEWICZ

 

Händel

<Siroe, Re di Persia>

SIROE 

Intern. Händelfestspiele Karlsruhe

16-02-2024

countertenor RAFAL TOMKIEWICZ - Siroe - Internationale Händelfestspiele Karlsruhe  - ALL YOU NEED personal management nicolai
Photo: Felix Grünschloß

Overwhelming success for RAFAL TOMKIEWICZ at his house-debut at Badisches Staatstheater Karlsruhe, being called the perfect cast for SIROE: "...With his fluid, warm and glowing Alto, Rafal Tomkiewicz lends the title role of SIROE from the very beginning an impressive presence. His performance captivates the audience, even in the dungeon, where his voice seems almost whispery and fragile..." // ...The Karlsruhe Handel Festival with its outstanding reputation, always is able boast a star cast. And this year is no exception! The title role of SIROE was sung by Polish countertenor Rafal Tomkiewicz, who, with his supple, incredibly beautiful voice, perfectly corresponds to the ideal image of a sovereign of Händel's time; with a kind and forgiving character. Tomkiewicz sings his part so elegantly and with such heartfelt emotion, that - if the comparision would be possible - he wouldn't have to shy away with Senesino, the famous star under the castrats, and the cast in the world-premiere of Siroe..." // "... The title role of SIROE was performed by the Polish countertenor Rafał Tomkiewicz with wonderful and warm vocal colours. His dungeon scene and aria was deeply moving and was one of the most poignant moments of the performance..." // "...In the title role of SIROE counter Rafał Tomkiewicz. Physically, he mimed the strong warrior, vocally the do-gooter.In Händel's opera, he is the son who silently endures the slander, who honours his father and spares his brother, only to be victorious in the end, because his faithful companion stands by him..." // To this day, Siroe is one of the most rarely performed Händel operas - undeservedly so! Thanks to the brilliant Deutsche Händel-Solisten and an excellent cast, it will be remembered for a long time.... In the title-role of SIROE Rafal Tomkiewicz, agentle, warmly timbre Countertenor, lending memorable weight in the many almost sustained and very low arias of SIROE and his expressive prison scene. He also radiates authority and dignity with his physicality... // "... Tomkiewicz with a caramel-sweet voice,,," // ..Musically, grandiose things are happening ...Rafał Tomkiewicz's SIROE is an enormously intensifying, masculine and yet soft-sounding Alto..." // "...The role of the title character SIROE is extremely difficult - the excellent Rafał Tomkiewicz, thanks to his exceptional vocal and acting skills, managed to get more out of this - clichéd and shallow character - than could be expected. Händel composed the part of Siroe for the star of his time among castrati - Francesco Bernardi, called Senesino, who demanded from the composer at least five arias in this work. Tomkiewicz's performance is all the more praiseworthy - his most elaborate part requires not only vocal skills, but even above-average physical endurance. Particular praise to the superbly sung aria in the prison, where Tomkiewicz, using the delicate timbre of his voice, perfectly performed the tragedy of his character's situation. Long and frenetically applause for this performes at Badisches Staatstheater Karlsruhe..." // ....Rafał Tomkiewicz's countertenor in the title-part of SIROE convinces with a good technique, and a warm, pleasnat Alto timbre..." // "... RAFAL TOMKIEWICZ as empatical and good Siroe with sensitive timbre... and .... bring to live the divas of the past..." // "...In the title role, RAFAL TOMKIEWICZ performs Siroe, a multiple devided character, with great empathy and a comprehensive tessitura..." (From: SWR Radio, BNN, Kieler Nachrichten, Frankfurter Rundschau, OPER!Magazin, Klassik Oper, klassikfavori, opera-online)

Hintergrund mit Farbverlauf

SARA-MARIA SAALMANN

 

Torstein Aagaard-Nilsen

WORLD-PREMIERE <Gespenster>

DIE JUNGE HELENE 

Staatstheater Meiningen

23-02-2024

szenenbild-aus-gespenster-c-christina-iberl-06-620x413.jpeg.webp
Photo: Christina Iberl

Huge success for the World-Premiere "Gespenster" after Ibsen's novel at Staatstheater Meiningen and SARA-MARIA SAALMANN as vulcanic performer: "... With much more vulcanic energie SARA-MARIA SAALMANN performs her JUNGE HELENE as ...." // "... The composer's use of crystal-clear words (of the admittedly copious text) and the vocal potential of the excellent house ensemble is exemplary. The result is a tailor-made vocal joy, rarely experienced! ... SARA-MARIA SAALMANN as the Young Helene...." // "... The excellent cast was led by ... and SARA-MARIA SAALMANN as Junge Helene..." (nmz, Die Deutsche Bühne, Concerti. mdr, )

Hintergrund mit Farbverlauf

LIUDMILA LOKAICHUK

 

R. Strauss

<Ariadne auf Naxos>

ZERBINETTA 

Teatro Verdi Trieste

16-02-2024

soprano LIUDMILA LOKAICHUK - Zerbinetta - Teatro Verdi Trieste  - ALL YOU NEED personal management nicolai
Photo: Teatro Verdi Trieste

Overwhelming success for LIUDMILA LoKAICHUK at her house-debut in Trieste: "... A class of her own is coloratura LIUDMILA LOKAICHUK, singing the murderously difficult, coloratura-filled role of Zerbinetta with bravura and acting with casual, youthful coquetry..." // "... First-rate singing company, assorted to perfection. LIUDMILA LOKAICHUK's scintillating, fierce coloratura deservedly gets the most vibrant ovation of the evening at the end of Zerbinetta's aria..." // "... Great and deserved success at the Teatro Verdi di Trieste. An excellent cast with the exceptional LIUDMILA LOKAICHUK as Zerbinetta..." // "... LIUDMILA LOKAICHUK, in the role of Zerbinetta, embodied a multi-faceted character with brio and tender freshness, freeing it from a certain routine that imprisons it in the stereotype of the high-pitched 'coloratura-machine' and, on the contrary, accentuating the moments of reflexive retreat. In her grand aria, she received a hurricane of applause, which was more than deserved..."

Hintergrund mit Farbverlauf

MARTHA EASON

 

Russell Hepplewhite

WORLD-PREMIERE <The Crash>

MAGDALENA 

Oldenburgisches Staatstheater

09-02-2024

soprano MARTHA EASON - The Crash - World Premiere - Staatstheater Oldenburg  - ALL YOU NEED personal management nicolai
Photo: Oldenburgisches Staatstheater

Huge success for the World-Premiere at Staatstheater Oldenburg and MARTHA EASON: "...the Staatstheater Oldenburg can be very lucky with the soloist ensemble, which, without exception, sings and acts magnificently. MARTHA EASON plays the cleaning lady eith a powerful, pithy soprano and winking gestures..." // "...MARTHA EASON and .... perfectly attuned to each other, managed the metamorphosis of the 'partners in crime' from cleaners to Pinot Grigio-drinking businesswomen vocally confidently and with great enthusiasm..." // "...MARTHA EASON as Magda always manages to bring a touch of thoughtfulness, almost sadness, to her crystal-clear soprano, which can also take on incredibly soft traits...." (Die Deutsche Bühne, nmz, Theater:pur)

Hintergrund mit Farbverlauf

HENDRIK MÜLLER

 

G. Verdi

<Don Carlo>

STAGE DIRETOR 

Pfelztheater Kaiserslautern

11-02-2024

Verdi - Don Carlo - Pflaztheater Kaiserslautern - REGIE HENDRIK MÜLLER  - ALL YOU NEED personal management nicolai
Photo: Pfalztheater Kaiserslautern

HENDRIK MÜLLER celebrates a huge success with his interpretation of , marking his house-debut at the Pfalztheater. Bravi, standing ovations and a great presss: "... Festival atmosphere in Kaiserslautern! Ovations after the premiere of Giuseppe Verdi's ... as well as for HENDRIK MÜLLER and his team. Opera lovers, make a trip to the Pfalztheater! What you can hear and see there right now surpasses many star productions in bigger theatres. A success that has many reasons. So - listen and be happy? No! Absolutely also SEE - and be even happier! ... While in many large theatres the auto-da-fé scene and it's surrounding often is only a tableau of singers, at the Pflaztheater you can experience a fantastic production down to the smalles detail. Hendrik Müller has taken a close look, not only in the Verdi-influenced libretto, but also at Schiller's play. Neither the French-Italian nor the German-Spain of the 16th century have here anything to do with historical truth; but with people, their feelings, with power, be it secular or ecclesiastical; with pursuit of freedom and how violence effects their lives.. Broken characters, lonely sick souls, victims they are all. Müller draws the not obtrusively bold, but almost conspicuously inconspicuous. Like the small windows, that open in the monastery walls, and reveal the inner life, on the crucified man above the Grand Inquisitor, a blood-drinking monk, to a court informer. Or like the not so heavenly Voe dal Cielo, that appears in the autodafé as Death, Or is it the monk after all? Don Carlo always has offered many possibilities for interpretation. It is this complexity that makes it so difficult and at the same time a central masterpiece. Especially when it is performed as now at the. Pflaztheater Kaiserslautern...." // "...The last note fades out. Balck. Seconds later, shouts of bravo ring out and all 600 people in the audience stand up as one to cheer the premiere of Verdi's "Don Carlo" at the Pfalztheater. Over 15 minutes standing ovations and applause. They applaud a fantastic production with magnificent voices and a marvellous performance by the Pfalzphilharmonie, but also the exceptional directing team around HENDRIK MÜLLER... There are numerous versions of this opera. The Pfalztheater is performing the Italian five-act version that Verdi created for Modena in 1886, with the restored first act, which shows Carlos and Elisabeth getting to know each other as the starting point of the drama. And what appears to be a long 255 minutes, including two intermissions, is such an exciting work that time just flies. From the very first second, director HENDRIK MÜLLER takes the audience on an emotionally captivating journey into a dark, political play including a romantic drama, father-son conflict, the call for freedom, but also the merciless inquisition. Under the sensitive and touching direction of HENDRIK MÜLLER, one of the darkest operas has been turned into a gripping piece of music theatre with which the Pfalztheater does not have to hide behind any of the world's great theatres, because contrary to the boos in New York or most recently at La Scala di Milano with its great stars, the production in Kaiserslautern shows that this opera can provoke real storms of enthusiasm from the audience..." // (Die Rheinpfalz, Petra Röder Blog

Hintergrund mit Farbverlauf

ARMINIA FRIEBE

 

G. Verdi

<Don Carlo>

ELISABETH de VALOIS

Pfalztheater Kaiserslautern 

11-02-2024

soprano ARMINIA FRIEBE - Verdi - Don Carlo - Pfalztheater Kaiserslautern  - ALL YOU NEED personal management nicolai
Photo: Pfalztheater Kaiserslautern

With her phenomenal role-debut as Elissabeth, ARMINIA FRIEBE shows impressivly, that she also can sing Italian Repertoire more than well: "... What a debut! Due to ARMINIA FRIEBE's glamorous youthful dramatic soprano, in Kaiserslautern the opera also could be called ..." // "... Also vocally, the Pflaztheater offers an exceptional high level. Soprano ARMINIA FRIEBE, new member of the ensemble proved with her brilliant interpretaion of Elisabeth de Valois to be a real treat for the theatre..." (Die Rheinpfalz, Petra Röder Blog )

Hintergrund mit Farbverlauf

LEILA SCHÜTZ

 

Lucy Landymore 

<The Wizzard of Oz>

EM, GLINDA,KEEPER,WHICH .o.t. WEST 

Volkstheater Rostock

06-01-2024

soprano LEILA SCHÜTZ - The Wizzard of Oz - Volkstheater Rostock  - ALL YOU NEED personal management nicolai
Photo: Dorit Gätjen

Bravo, LEILA SCHÜTZ, member of the Opera-Studio at Volkstheater Rostock. Great reviews for her 4 parts in Landymore's children's opera: "... Vocally outstanding - LEILA SCHÜTZ ´´, who shines in not less than 4 parts: Aunt Em, Glinda, Witch of the West and keeper..." (Orpheus Magazin)

Hintergrund mit Farbverlauf

BENJAMIN RUSSELL 

 

G. Fauré

<Requiem>

BARITONE

National Concert Hall Dublin

05-11-2023

baritone BENJAMIN RUSSELL - Fauré - Requiem - National Concert Hall Dublin  - ALL YOU NEED personal management nicolai
Photo: National Conceert Hll Dublin

At his return to the National Concert Hall Dublin, BENJAMIN RUSSELL was celebrated by the public and hailed by the press as "exceptional" in Fauré's Requiem: "... baritone BENJAMIN RUSSELL was simply exceptional! Both, in quiet and the loud moments, and the silky lyricism of his voice was downright cpativating..."

Hintergrund mit Farbverlauf

RAFAEL HELBIG KOSTKA

 

J. Strauß

<Die Fledermaus>

ALFRED 

Nationaltheater Mannheim

31-12-24

tenor RAFAEL-HELBIG-KOSTKA - J. Strauß - Die Fledermaus - ALFRED - Nationaltheater Mannheim  - ALL YOU NEED personal management nicolai
Photo: Nationaltheater Mannheim

RAFAEL HELBIG-KOSTKA as vocal and acting convincing and by the public celebrated Alfred: "... RAFAEL HELBIG-KOSTKA, the brilliant tenor as Alfred with hard to contain joy of performing this role... Great to have him as new member in the ensemble at Nationaltheater Mannheim"... The joy of acting hardly could have been be contained. With RAFAEL HELBIG-KOSTKA and ... real comic talents are on stage. This is a full-blood theatre-horse that pulls!... (Mannheimher Morgen)

Hintergrund mit Farbverlauf

ERIC JURENAS 

 

G. Ligeti

<Le Grand Macabre>

PRINCE GO-GO

Oper Frankfurt

05-11-2023

countertenor ERIC JURENAS - Ligeti - Le Grand Macabre - Prince GoGo - Oper Frankfurt  - ALL YOU NEED personal management nicolai
Photo: Barbara Aumüller

A hihgly successful return to Oper Frankfurt for ERIC JURENAS: "... Phenomenal also ERIC JURENAS with his cristal clear and attractive Countertenor..." // "... ERIC JURENAS outstanding as Prince Go-Go, making an extremely impressive role debut in this premiere..." // "... ERIC JURENAS, in a crazy worn out feather costume, shines with his flexible and expressive countertenor as brilliant Prince Go-Go..." // "...Of the huge ensemble, the following should be emphasised: the metallically clear and at the same time beautifully phrasing countertenor ERIC JURENAS as Prince Go-Go..." "... Absolutely stunning, ERIC JURENAS as Prince Go-Go..." // "... ERIC JURENAS as Prince Go-Go with a flawless countertenor..." // "...Scene applaus for ERIC JURENAS Prince Go-Go and his fantastic high notes..." // "... Countertenor ERIC JURENAS in an oppulent red feather costume appears in the 2nd act and delights..." // "... and ERIC JURENAS' secure countertenor of beautiful sound made this Frankfurt Ligeti premiere a great success..." // "... ERIC JURENAS does not only sing his part of PRINCE GO-GO absolutely fantastic, but he also is a very funny actor..." (FAZ, Frankfurter Rundschau, Der Opernfreund, Concerti, Das Opernmagazin, Opera Online, Musik Heute, Feuilletonfrankfurt, Detuschlandfunk)

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