L I E S L   O D E N W E L L E R  –  Soprano

“…the heir apparent to Sutherland and Anderson: this is one of the best techniques I have ever heard.” –
Christopher Raeburn

“Ben interpretati anche tutti i ruoli di fianco…. Citeremo almeno … la confidente di Liesl Odenweller  (The secondary roles were also interpreted well. We must at least mention the Confidante of Liesl Odenweller.)” –
Asterisco Informazioni, March 2008

“…very attractive and sexy as the maid was Liesl Odenweller…” –
Il Giornale di Vicenza, 11 June 2005

“…particular praise goes to the soprano, Liesl Odenweller, who has a velvety and intense voice, rich with fascinating colors…” –
Operaclick, 23 maggio 2005

“…among the outstanding soloists the soprano Liesl Odenweller deserves special attention…” –
Corrierebit, 20 maggio 2005

“Liesl Odenweller’s…tone is rich and expressive, and her upper range is broad and notes effortlessly reached…. Miss Odenweller [also] has a very good comic flair.”  —
Bedford Gazette, 29 October 2004

“The acoustics…enabled the singer to showcase her virtuosic abilities. The sweet, controlled, animated and fetching soprano voice effortlessly filled the hall with appropriate tone, volume, and nuance. Even those unfamiliar with the languages could easily infer what was being sung.”
Recorder Newspapers, 17 November 2004

“Liesl Odenweller’s voice is perhaps a bit more lyric than one is used to hearing as Bastienne, but the color is extremely beautiful, and she has a refreshing inclination toward unabashed expressivity.”
Il Giornale di Vicenza, 3 June 2004

“Odenweller portrayed every pensive demand of the text through her excellent German and the wide variety of colors in her voice, fascinating even the most exacting musical critic. She was showered with applause at the conclusion.”
Kirchenzeitung, 28 November 2002

“The American soprano Liesl Odenweller transmitted a blissful message through the color of her light, sweet soprano voice in the Solace Aria.”  —
Lübecker Nachrichten, 26 November 2002

“…a technically impeccable performance of the highest quality and rare intensity, in a work that is notoriously difficult….” –
l’opera, December, 2002

“The two soloists for the Brahms
Requiem are simply exceptional. No vocal overindulgence: merely great artists.” – Interview with Conductor Maestro Romano Gandolfi, Il Giorno, November, 2002

“…seldom have we had the honor of having soloists of the caliber of the soprano Liesl Odenweller, who despite a light cold sang with elegance and great beauty of vocal line.”
Ratzeburg Gazette, June, 2002

“…the twosome kept their hearers spellbound with superb presentations…. Odenweller displayed exceptional virtuosity and tremendous grasp of the singer’s art, engaging her audience….  Her superb renditions of songs…were uniformly crafted, expertly delivered – and very sweetly sung.”
  — Bedford Gazette, March, 2002

“Liesl Odenweller has a lovely voice with a clear, bright top.”
Fanfare, May/June, 2001

“Among the other notable moments: the episode of Pinkerton with his American wife, an extremely beautiful and very elegant Liesl Odenweller with a classic Wilson costume….”
Orsiitaliani, February, 2001

“… beautifully voiced singers combined seamlessly, with
Liesl Odenweller a particularly memorable Violetta ….” — Evening Advertiser, 25 July 2000

“The public’s overwhelming consensus was easily won by the young American soprano Liesl Odenweller, who possesses an impressively effortless and secure technique. This was evident particularly in her interpretation of Gilda in
Rigoletto, a role that is perfect for her vocal abilities, which allow her to soar in impressive pyrotechnics with great agility and ease even in the highest register.”Il Gazzettino di Venezia, February 1999

“Soprano Liesl Odenweller as Pamina brought a silvery vocal sheen to her performance.  Her controlled legato and ability to sustain long phrases were impressive.”
Asheville Citizen-Times, July, 1995

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