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PRESS

“Fanie Antonelou sang with a clear, young voice and with absolute command in creating and phrasing her part.” Memminger Zeitung, 23 September 2015

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“The Greek singer Fanie Antonelou used her crystal-clear voice expertly to achieve genuine operatic drama.” Süddeutsche Zeitung, 21 September 2015

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“… the lively, girlish and minxlike Susanna of Fanie Antonelou, the youthful and smart Figaro of Christian Van Horn presented Mozart as fresh and new to our ears as if we were witnesses of the first performance of the opera.” Der Neue Merker, February 2014

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“The ‘other’ couple – Figaro and Susanna – is just as enchanting: the American bass-baritone Christian Van Horn, also internationally experienced and critically acclaimed, and soprano Fanie Antonelou (like Currentzis born in Greece), who sings and acts flexibly and with a wide stylistic range, hold their own with verve against the extroverted noble couple. There is fire in the vocal parts as well as in the orchestra.” Der Spiegel, 23 February 2014

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“While Fanie Antonelou’s Susanna with the maximum of flexibility causes enthusiasm …” Badische Zeitung, February 2014

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“Vocally as well: The young soprano Fanie Antonelou is emblematic for the spirit, mellifluousness and presence of the most exciting “Figaro” recording of recent years.”  Hamburger Abendblatt, 13 February 2014

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“… delicately sung by performers with a very high affinity for Mozart like Fanie Antonelou as Susanna” kulturradio, 24 February 2014

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“Soprano Fanie Antonelou intoned extremely delicately, with silvery brilliance, for example in the aria “Höre Israel”. More intensely still in “Darum ward gesendet der Prophet Elias”: with a clear and natural voice of a tremendous volume, which can hold its own against the orchestra and fills the whole church.” Reutlinger Generalanzeiger, October 2012

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With unique perfection Fanie Antonelou masters her portentous and momentous part with overwhelming charm and a voice that was strong, dynamic and clear as a bell. The adorable soprano sang jubilantly in the highest register.” Schwäbische Zeitung, June 2008

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“Due to the voice alone it is easy to understand that the Count does not want to miss his chance with Susanna; and she on her part leads him up the garden path with cunning innocence and subtlety.” AMAZON reviews, 14 February 2014

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Sueddeutsche Zeitung, 2 April 2013 St Matthew’s Church at Sendlicher Tor, Munich Bach St John Passion

 

“… the almost exclusively young soloists were excellent. Fanie Antonelou performed the two soprano arias with a soprano voice of a soft timbre that never sounded to sharp and performed them in an extraordinarily musical way.”

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Stuttgarter Zeitung – 23/ 03 /2010 – St John Passion, Stiftskirche Stuttgart

 

"More convincing was above all the young soprano Fanie Antonelou. Throughout, she performed her two arias impressively with a light and clear tone."

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Südwestpresse,16/ 03/ 2010 St John Passion, Hymnus Chorknaben, Stadtkirche Göppingen

 

“The Greek soprano Fanie Antonelou interpreted the aria <Ich folge dir gleichfalls> especially beautifully.  With her crystal-clear, warm voice she won the hearts of an enthralled audience."

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Stuttgarter Zeitung 2/ 06/ 2009, Il Trovatore Staatsoper Stuttgart  

 

"Fanie Antonelou sang the Inez with a delicately shimmering tone."

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Stuttgarter Nachrichten – 24 /03/ 2009 – St Matthew Passion, Stiftskirche Stuttgart

 

"...while Fanie Antonelou contributed moving accents with her flexible soprano voice."

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Esslinger Zeitung, 27/ 03/ 2009 A German Requiem (Brahms), Forum am Schlosspark-Ludwigsburg

 

"In the fifth movement <Ihr habt nun Traurigkeit > Fanie Antonelou, with her wonderfully clear and smooth soprano voice, presented a further highlight of the performance."

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Mendelssohn's Elijah, Alte Oper Frankfurt, February 2009 (www.op-online.de)

 

“Soprano Fanie Antonelou sang recitatives and arias beautifully clearly and with artistic maturity:  mourning widow, angel, and messenger in the ‘Höre, Israel’ (‘Hear, O Israel’)."

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Schorndorfer Nachrichten, February 2009, Brahms Requiem, Stadtkirche Schorndorf

 

"This time, Fanie Antonelou had a dream role with her gorgeous lyric soprano voice, which she filled with life in an appealingly womanly way."

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St Matthew Passion, March 2008, Dominikanerkloster Frankfurt (www.frankfurt-evangelisch.de)

 

"The slender soprano voice of Fanie Antonelou radiates immaculate sensuality." 

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Esslinger Zeitung, May 2007 The Philharmonic Choir performs Haydn’s 'Schöpfung' (‘Creation’) in the Frauenkirche.

 

"With her lucent and always well-controlled soprano voice Fanie Antonelou enriched the soloist trio.”

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Stuttgarter Nachrichten, February 2007 “Die lange Nacht des Betrugs" („The long night of deceit”) at the Wilhelma Theatre, Stuttgart.

 

"In Menotti’s ‘Medium’ both Kleopatra Papatheologou as mother and Fanie Antonelou as her daughter were convincing in their performance through volume, rich variety of timbres and flexibility of their voices."

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Reutlinger Generalanzeiger, June 2007 Concert performance of 'Freischütz'

 

"Fanie Antonelou as Ännchen provided particular pleasure with her flexible voice and delicate tone. Her playful performance, which was free of vibrato, made one wish for more." 

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Esslinger Zeitung, May 2006 Geistliche Abendmusik im Spiegel der Romantik (A sacred serenade in the spirit of Romanticism) - Frauenkirche Esslingen

 

"The vocal highlight was the soprano aria    <O salutaris hostia>. In the highest standard of belcanto style Fanie Anonelou sang the wonderful melodies, soared to flawless heights. Previously she had already presented herself as a veritable lied singer. Antonelou demonstrated a highly refined technique with controlled balance in all registers and the most exact use of resonance in a selection of Hugo-Wolf-Lieder and two elegies written by Brahms.”

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Pforzheimer Zeitung, 17/ 07/ 2006   'Musikalische Perlen aus drei Jahrhunderten' ('Musical gems from three centuries') - Britten, 'Les Illuminations'

 

"...…musical gems of seductive brilliance were presented due to an immaculate change of register, luminous heights free from any metallic sharpness, virtually heavenly piano glissandi and incredibly reliable intonation combined with a perfectly idiomatic French."