Opera Reviews

Adalgisa in Norma
“Donna Morein is a magnificent Adalgisa with a bright, high mezzo, characteristic of a dramatic soprano. The two singers proved how attuned they were to each other in the synchronized cadenzas of their second duet, Mira o Norma, creating a very harmonious sound.”
Orpheus

“Donna Morein was the Adalgisa, who presented a big, glowing voice and created a beautiful combined sound with Norma.“
Der Neue Merker

Azucena in Il Trovatore
"The central point of the evening: Donna Morein as Azucena. She has at her disposal a voice that is even, expressive and carries in all registers. She succeeds in making every emotion of this old gypsy believable, as Manrico's loving and worried adoptive mother, or in her delusional memories of her mother's death. Unfortunately, this promising singer is leaving Gärtnerplatz for Karlsruhe,…”
Die Opernzeitung

"Donna Morein received an overwhelming ovation for her Azucena, with her metalically shining, noble mezzo-soprano. Her recurring visions of past horrors and fear were just as believable as her passionate mother’s love for Manrico.”
Oper und Konzert

“The most effective work is Donna Morein’s characterization of Azucena. She is an excellent singer and has fine stage presence. Ms. Morein does as well in the fire tale (Stride la vampa) as she does in her confrontation with Di Luna.”
Sunday News Journal, Wilmington, DE

“Donna Morein has the good sense to make the most of her unrestrained role; the best moments of the evening are undoubtedly hers.”
WHYY News

Margarethe in Damnation de Faust
“One of the most thankful solos was Margarethe’s scene, interwoven with spellbinding violin melodies. Donna Morein used this optimally to show off her cultivated mezzo,-whose especially colorful lower register, forced the listener’s wrapped attention.”
Der Tages Anzeiger, Chemnitz

“Donna Morein (mezzo-soprano) gave to the role of Margarethe, all that it possesses: desire, a flood of feelings and despair, with a wonderfully balanced voice and natural performing style.”
Freie Presse, Chemnitz

Fenena in Nabucco
“Donna Morein as Fenena, with her noble, modulated mezzo, was the vocal shining point of the performance.”
Bayerischer Staatszeitung

“Nabucco’s daughter Fenena was cast with the jewel-toned soprano of Donna Morein.”
Neues Deutschland, Berlin

"...Donna Morein's portrayal of Fenena: She is a singer who knows exactly how to mold her voice and acting to an operatic role."
Neue Zürcher Zeitung

Brangäne in Tristan und Isolde
"Donna Morein sang Brangäne with her beautiful, flowing, almost effortless mezzo.“
Der Neue Merker

Fricka in Die Walküre
“… overshadowing all the rest: Donna Morein as Fricka, with fiery gestures forced Wotan to his knees.“              Frankfurter Allgemeine Zeitung

“Donna Morein, with a noble and clear vocal production, was an ideally cast, proud Fricka.“
Der Neuer Merker

“Donna Morein sang the roles of Fricka and Waltraute, which she managed masterfully. Alone her smile as mean-spirited Fricka, froze that on Wotan’s lips. Through her expressive acting, she put the imaginative, convincing staging to best use.”
Nordbayerischer Kurier

“… Donna Morein as principled Fricka makes this Walküre a gem.”                                                                                                                                                                          Handelsblatt

“Donna Morein (Fricka) was a penetrating presence.“ Leipziger Volkszeitung

Waltraute in Die Götterdämmerung
“shows masterfully how in Wagner’s music the singing line grows out of the text. Donna Morein combines this technique moreover with the deep romantic sound of her voice and with enormous feeling.”
Berliner Zeitung

“Once again Donna Morein as Waltraute was fabulous.”
Der Neue Merker

“Especially notable was the high dramatic voice of Donna Morein as Waltraute.“
Nordbayerischer Kurier

Ortrud in Lohengrin
"Most impressive of all was Donna Morein, who used her full mezzo voice to create an Ortrud with emotional depth, brilliance and with a rich spectrum of colors."
Bayerische Staatszeitung

“Donna Morein sang a convincing Ortrud, a combination of seductive Kundry and mythical Erda.”                            Opern Welt

"Convincing throughout was Donna Morein as a powerful, multi-faceted Ortrud."
Applaus

Fricka in Das Rheingold
“Donna Morein was a solid, beautifully voiced Fricka.”
Der Neuer Merker

Klytämnestra in Elektra
“…the murderess mother Klytämnestra, a fantastic, memorable Donna Morein, malevolently laughs.” Morgenpost – Chemnitz

“Donna Morein portrays a mother with a perverse past, who has turned into a deplorable aging woman…. Her warm alto voice suddenly becomes flaring, threatening, hard, throaty and yet vulnerable. Her hellish joy is short-lived; whining in the background is a frenzied fury foretelling what fate will bring….Anyone who doesn’t go to see this, has only themselves to blame.” Junge Welt

"Donna Morein portrays a woman who recognizes her guilt. She shows Klytämnestra in all her humanness. Where other portrayers of this role think they have to speak, Miss Morein sings." Kulturspiegel Thüringen

Eboli in Don Carlo
"Donna Morein sang an Eboli full of sensuality and fire, bringing out the tragic nature of her love life, over the often overdone scheming side."
Donaukurier

"Donna Morein as vehement Eboli, with eye patch (symbol of her blind jealousy), not only hurled her Mezzo-lightning flashes against Posa and Carlo, but also presented the Velo Aria as an exciting creation. The way she, together with the conductor, maintained the tension through the pauses, had a surreal quality."                                                       Augsburger Allgemeine

"The two women were so impressive in their singing and acting, it is difficult to decide which one receives the crown for the evening...Dramatic projecting power radiates from the newly engaged Donna Morein as Princess Eboli."
Braunschweiger Zeitung 

Nurse in Die Frau Ohne Schatten
"Donna Morein, in the role of the Nurse, penetratingly embodied the incarnation of evil, and used her warmly timbred mezzo very skillfully."
Der Neue Merker

"In the role of the Nurse, mezzo-soprano Donna Morein, with very strong stage presence and her flexibly dramatic voice, weaves her sinister web."
Augsburger Allgemeine

Klytämnestra in Iphigenie in Aulis
"The high point of the evening was Donna Morein's thrilling performance of Klytämnestra's second act aria."
Wolfsburger Nachrichten

"Inspiring was the polished and stylistically sure performance of Donna Morein, whose lyric aria in the second act was a musical high point."
Orpheus

Fidalma in Il Matrimonio Segreto
"Always present, the lovable, love-crazed Aunt Fidalma of Donna Morein, with a full, sentimental, meltingly sweet voice."
Süddeutsche Zeitung, Munich

Chiwjra in The Fair at Sorotschinski
"Donna Morein as Chiwja uses her full mezzo very skillfully and knows how to color her voice to advantage."
Tageszeitung, Munich

Federica in Luisa Miller
"Donna Morein as Federica: Amneris and Eboli in one. Beautiful timbre and projecting power. Respect for this artist continues to grow through her graceful performance."
Münchner Merkur

"In typical gala performance style (José Carreras as Rodolfo; Katia Ricciarelli as Luisa; Leo Nucci as Miller), glitter and grandeur were featured in Luisa Miller. Director Alfred Wopmann's detailed and well-coordinated staging… and in an especially beautiful way Donna Morein as Federica represented the elegant staging."

Neue Zürcher Zeitung                                                                                                   

Sarah, Naomi and Witch of Endor in The Eternal Road
“Donna Morein played Naomi and the Witch of Endor with flair and spirit.”
Opera News

“Theo Adam, Siegfried Vogel and Donna Morein were the musical bastions of the ensemble, creating a shining sound.”
Junge Welt, Berlin