Agathonos, Anna - Mezzo Soprano

  To Roster
A. Dvorak - Jezibaba's first aria (Rusalka)
More videos


Witch in Hänsel und Gretel“, Gärtnerplatztheater Munich, 2020
Anna Agathonos is a Witch straight out of a fairy tale. As a dramatic mezzo-soprano, she possesses all the vocal and acting elements and uses them with great playfulness.
-, 11.2020, Andreas H. Hölscher
As the Witch, Anna Agathonos not only offers first class children's entertainment, but also fills all the demanding notes with meaning.
- Abendzeitung, 23.11.2020, Dr. Michael Bastian Weiß
Old Lady in Candide“, Theater Pforzheim, 2017
Anna Agathonos, mezzo-soprano, interprets the Old Lady with authority and ease. (Theater Pforzheim´s guest performance at the Bartok Plusz Opera Festival in Miskolc.)
–        OperaClick, 03.07.2017, David Toschi
The vocal highlights include the tango number of expressive mezzo-soprano Anna Agathonos as Old Lady.
–        Pforzheimer Zeitung, 27.02.2017, Anita Molnar
Teresa in La Sonnambula“, Staatstheater am Gärtnerplatz, 2015
Anna Agathonos stands out with her excellent interpretation of the miller Teresa.
–        Munich and Co Blog, 11.10.2015, Luc Roger
One would have granted Anna Agathonos as Teresa a big aria…
–        Münchner Merkur, 10.10.2015, Markus Thiel
Ježibaba in Rusalka, Theater Pforzheim, 2015
The impressive Anna Agathonos equipped the role of Ježibaba with a deep, profound and perfectly placed mezzo-soprano.
–        Der, 19.03.2015, Ludwig Steinbach
Anna Agathonos was the perfect cast for the witch Ježibaba. She moved relentlessly between a pleasant, beautiful sound in her voice and a funny acting on stage. (Theater Pforzheim´s guest performance in Schwäbisch-Gmünd.)
–        Rems Zeitung, 12.05.2015, Christine Lakner
Soloist in Mahler´s 3rd Symphony, Neue Philharmonie Westfalen, 2014
One of the highlights was the alto solo "O Mensch! Gib Acht!" in the 4th movement, performed with a touching intensity and a warm timbre by mezzo-soprano Anna Agathonos.
–        WAZ, 02.07.2014, Elisabeth Höving
Ulrica in Un Ballo in Maschera at the Theater Pforzheim, 2013
With her Ulrica, Anna Agathonos was able to give the dramatic dark plot the right atmosphere and alto voice. The deep regions of her beautifully voluminous voice were impressive… (Theater Pforzheim´s guest performance in Schwäbisch-Gmünd.)
–        Rems-Zeitung, 2013, Christine Lakner
Amneris in Aida“, an open air concert performance in Pforzheim, 2012
Anna Agathonos in the role of Amneris offered great dramatic temper with a rich vocal volume in all registers. The great expressiveness of the mezzo-soprano was particularly impressive in the low register.
–        Ruth Wolfstieg, July 2012
Magdalena in Der Evangelimann“, Stadttheater Klagenfurt, 2012
Anna Agathonos was clear, dark and touching as Magdalena.
–        Kronen Zeitung Kärnten, 11.02.2012, Andrea Hein
…Anna Agathonos with a rich alto voice and a calm stage presence…
–        Der Opernfreund, 08.03.2012, Hermann Becke
Dalila in Samson et Dalila, Musiktheater im Revier Gelsenkirchen, 2009
Anna Agathonos embodied the seductive Pharisees priestess Dalila with a captivating stage presence. After having sung Amneris and Azucena, her mezzo has obtained a deep, burgundy colour, which reminds of another Greek mezzo-soprano, Agnes Baltsa. Agathonos thus gives a very impressive role portrait with a tasteful French diction.
–        Der Opernfreund, 2009, Martin Freitag
Amneris in Aida“, Musiktheater im Revier Gelsenkirchen, 2008
The portrayal of Amneris by Anna Agathonos was sensational. With fascinating body tension and meaningful facial expressions, she created an slick salon snake, who finally succombs to self-pity.
–        Das Opernglas, Dec 2008, A. Laska
Anna Agathonos succeeds with the difficult part of Amneris in a well thought-out and intelligent manner.
–        Der Neue Merker, Der Opernfreund, Oct 2008, Peter Bilsing
Carmen, Musiktheater im Revier Gelsenkirchen, 2007
The reviewer doesn't know what to admire the most in Anna Agathonos´ Carmen interpretation: her impeccably respectable and cultivated voice - the change into the dramatic Fach has been excellently accomplished. Or her incredible, multi-faceted variability and performance art. Not only does she phrase with an enormous musicality and intelligent text interpretation, far from the usual clichées, but she also convinces with enormous artistical sobriety, far from all the well-known Carmencita merits.
–        Online Musik Magazin, Der Opernfreund, Apr 2007, Peter Bilsing
But the top performance of this evening was given by Anna Agathonos as Carmen: extremely versatile… and with total dedication... she embodied the most diverse sides of this strong character. Her acting was only surpassed by her expressive singing: the lower part of the voice, so crucial for this role, sounded velvety and full; the perfect middle register was followed seamlessly by a radiant, powerful height. From soft sounds to powerful attacks, she really had a full range to draw from!
–        Der-Neue-Merker, Apr 2007, Dr. Andreas Haunold
Cassandra in „Les Troyens“, Musiktheater im Revier, 2007
Anna Agathonos is a Cassandra of great amplitude, with a nuanced legato which does not prevent emotional bursts... She also testifies of an impeccable French diction.
–        The Hector Berlioz Website, Jan 2007, Pierre-René Serna
Nerestano in Zaira, Musiktheater im Revier Gelsenkirchen, 2006
The star of the performance was actually Anna Agathonos, who has found another favorite part in the role of Nerestano and is proving more and more to be a real authority in this Fach, prone to have a career also in larger houses. The voice's capital is the rich, but not "fat" middle register and the never vulgarly chested, sonorous depth which responds very lightly and without pressure and is seamlessly connected to the other registers. But also the well thought-out, intelligent text interpretation and the identification with the character entrusted to her, which also requires a more determined tone, deserve to be mentioned.
–        Online Musik Magazin, Jun 2006, Thomas Tillmann
In the role of Nerestano Anna Agathonos had a great personal success. The Greek woman with a strong personality possesses a dark mezzo-soprano voice, which is simultaneously flexible and capable of dramatic attacks...
–        Das Opernglas, Jul-Aug 2006, A. Laska
The star amongst the ladies is certainly the Greek Anna Agathonos (Nerestano) with a mediterranean mezzo voice of great range which reminds me of the young Baltsa - a new Belcanto/Rossini singer is growing up here.
–        Orpheus, Jul-Aug 2006, Geerd Heinsen
Azucena in Il Trovatore“, Musiktheater im Revier Gelsenkirchen, 2006
Anna Agathonos gave the old gypsy Azucena, afflicted by terrible memories and dark secrets alike, an impressive profile. Agathonos mastered the part vocally effortlessly, whereby the intensive acting was also transferred to the vocal expression, which led to a thrilling performance... For Agathonos there was (justifiably) special jubilation.
–        WAZ, 06.03.2006