PRESS
"Soprano Fanie Antonelou convinces with her soulful voice."
Opernwelt 2023, about St. John Passion at the State Opera Stuttgart
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"In the arias soprano Fanie Antonelou achieves convincing clarity."
Stuttgarter Zeitung, St John Passion at the State Opera Stuttgart
April 4th 2023
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"With dulcet haste Fanie Antonelou’s bright and melodious soprano announces: 'Ich folge dir gleichfalls mit freudigen Schritten'"
Online Merker, April 2023 St John Passion
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"Soprano Fanie Antonelou shone with her charming voice and suitable intensity"
Gmünder Tagespost about Dvorák's Stabat Mater at Festival European Church Music Schwäbisch Gmünd July 2022
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"Greek soprano Fanie Antonelou is a committed and competent performer of the songs. Her graceful, gentle, lyrical soprano is particularly suitable to the fairies and nymphs we encounter in Kalomiri’s songs and on the other hand charmingly and without vulgarity masters Kurt Weill’s Farewell Letter (Abschiedslied)."
klassik-heute.de
CD-Talk about "Affinities"
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"… while soprano Fanie Antonelou plays off her soubrette allure even in the clearest peak notes and stands out soulfully against the darker timbre of the mezzo."
Offenbach Post on the New Year’s concert – celebrating the 200th birthday of Jacques Offenbach – with the Capitol Symphonie Orchester (January 2019)
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"… the more present is Fanie Antonelou with her “Ihr habt nun Traurigkeit”, which she performs with her flexible and yet always intensely shining soprano."
Mitteldeutsche Zeitung about Brahms' 'A German Requiem' at the Audimax of Regensburg University (November 2018)
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"Fanie Antonelou enchanted with her clear soprano, particularly in her unaccompanied rendition of the echo arioso 'Per me dunque il ciel' in the second act"
IOCO Kultur im Netz, about Handel's Giustino (2018)
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"Fanie Antonelou dazzles as Empress Arianna with her brilliant soprano."
Online Musik Magazin, http://www.omm.de
Handel-Festival in Halle (Saale) 'Giustino' (June 2017)
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"Fanie Antonelou’s soprano has a graceful and angelic quality."
Badische Zeitung, St John Passion at Concert Hall Freiburg
(March 2016)
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"Fanie Antonelou proved to be a brilliant choice with her vocal performance and lively acting, including the superbly sung aria “Deh vieni” with delicate piano even in the lowest notes"
Susanna in Nozze di Figaro at Concert Hall Dortmund, Der Neue Merker (November 2016)
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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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“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 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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“… 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.”
Sueddeutsche Zeitung, 2 April 2013 St Matthew’s Church at Sendlicher Tor, Munich Bach St John Passion
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"More convincing was above all the young soprano Fanie Antonelou. Throughout, she performed her two arias impressively with a light and clear tone."
Stuttgarter Zeitung –2010 – St John Passion, Stiftskirche Stuttgart
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“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."
Südwestpresse -2010 - St John Passion, Hymnus Chorknaben, Stadtkirche Göppingen
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"Fanie Antonelou sang the Inez with a delicately shimmering tone."
Stuttgarter Zeitung , Il Trovatore Staatsoper Stuttgart
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"...while Fanie Antonelou contributed moving accents with her flexible soprano voice."
Stuttgarter Nachrichten, St Matthew Passion, Stiftskirche Stuttgart
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"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."
Esslinger Zeitung, A German Requiem by Brahms, Forum am Schlosspark-Ludwigsburg
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“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’)."
Mendelssohn's Elijah, Alte Oper Frankfurt, (www.op-online.de)
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"This time, Fanie Antonelou had a dream role with her gorgeous lyric soprano voice, which she filled with life in an appealingly womanly way."
Schorndorfer Nachrichten, Brahms Requiem
Stadtkirche Schorndorf
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"The slender soprano voice of Fanie Antonelou radiates immaculate sensuality."
St Matthew Passion, Dominikanerkloster Frankfurt
(www.frankfurt-evangelisch.de)
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"With her lucent and always well-controlled soprano voice Fanie Antonelou enriched the soloist trio.”
Esslinger Zeitung, The Philharmonic Choir performs Haydn’s 'Schöpfung' (‘Creation’) in the Frauenkirche.
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"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."
Stuttgarter Nachrichten, “Die lange Nacht des Betrugs" („The long night of deceit”) at the Wilhelma Theatre, Stuttgart.
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"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."
Reutlinger Generalanzeiger, Concert performance of 'Freischütz'
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"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.”
Esslinger Zeitung, Geistliche Abendmusik im Spiegel der Romantik (A sacred serenade in the spirit of Romanticism)
Frauenkirche Esslingen
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"...…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."
Pforzheimer Zeitung, 'Musikalische Perlen aus drei Jahrhunderten' ('Musical gems from three centuries') - Britten, 'Les Illuminations'