Wilhelmine von Bayreuth – Argenore, Das Theater Münster 2021
Dorothea Spilger gives the role of mere companion the depth it needs, the emotional strength, great, heartbreaking arias, which is what brings me to the music in the first place.
- Burkard Knöpker, erlesenesmuenster.de, 12.06.2021
The same applies to Dorothea Spilger as Martesia, who unfortunately cannot present the information that would have prevented the catastrophe until too late. With a full mezzo-soprano, she lets Martesia's desperation run free, who on the one hand loves Leonida and on the other hand wants to save her supposed brother Ormondo.
- Thomas Molke, omm.de, 09.06.2021
M.-A. Turnage – Twice Through the Heart, Braunschweig Staatstheater 2019
…and despite this, the careworn delinquent manages to quickly direct all attention to herself. With a dark lamentation, a confession in expressionistic lyric highlights. Not oversensitive, mostly with cool composure, but still far from cold. Dorothea Spilger creates this with her vivid, distressfully glowing mezzosoprano. Quite impressive.
– Braunschweiger Zeitung, 29.10.2019
However, this did not meaningfully impact the performance of Dorothea Spilger. She delivered an immensely gripping psychogram of the woman who reflected on her story of suffering in nine non-chronological parts. There were many quite piercing sequences of notes, but also – especially for positive memories – wonderfully calm and lyrically coloured passages. All of this was created with distinctively complex expression by the mezzosoprano who had already left a resounding impression in the “Passagierin” at the beginning of the year.
U. Giordano – Mala Vita, Wexford Festival Opera 2018
Spilger was a powerful presence especially in Act 2, which Amalia dominates, communicating all of Amalia’s selfishness, recklessness and wilfulness. Her mezzo-soprano is powerful and focused, and in the lunchtime recital which she gave the following day, in St Iberius’s Church, she revealed its full range of colour, vibrancy and intensity, the dense layers of the bottom being complemented by strikingly intense and pure top notes. Spilger moved effortlessly between high and low, too, and her presentation of songs by Brahms, Schumann and Richard Strauss, and an aria from Lehár’s Zigeunerliebe, confirmed her flawless technique and assurance, and dramatic range.
– Opera Today, 24.10.2018
There was power and brilliance to mezzo soprano Dorothea Spilger’s Amalia. Her encounter with Cristina at the clothes-line was delightfully shrewish while her winning back of Vito was forcefully passionate.
– bachtrack.com
Dorothea Spilger glänzt als Amalia mit farbigem und verführerischem Mezzosopran und überzeugt auch darstellerisch als Femme fatale, die keine Grenzen akzeptiert. Ein musikalischer Glanzpunkt ist ihr Schlagabtausch mit Tiburzi im zweiten Akt, wenn Amalia auf ihre Rivalin Cristina trifft. Hier punkten Tiburzi und Spilger mit dramatischen Höhen und intensivem Spiel.
– Online Musik Magazin
Dafür sind die Mezzosopranistin Dorothea Spilger als eifersüchtige Amalia und die Sopranistin Francesca Tiburzi als leidgeprüfte Cristina umso authentischer. Sie kämpfen um den geliebten Mann mit allen einer Frau zur Verfügung stehenden Mitteln. Wenn beide ihrem vulkanischen Temperament freien Lauf lassen, dann ist das atemberaubend spannend.
– Kieler Nachrichten, 22.10.2018
E. Humperdinck – Hänsel und Gretel, Teatro alla Scala 2017
Sara Rossini, che ormai è una conferma più che una promessa, Gretel e Dorothea Spilger, Hansel. Voci duttile e ben assortite tra loro. La prima ritratto dell’ingenuità, ma anche con un corpo vocale consistente e tutt’altro che sbiancato, la seconda irruente nel tratto adolescenziale, dotata di bello e schietto colore di mezzosoprano. Come interpreti entrambe irresistibili, abili pure nel ballo e sciolte nei movimenti.
– L‘Impiccione Viaggiatore
Le due protagoniste, Dorothea Spilger nel ruolo di Hänsel e Sara Rossini nel ruolo di Gretel, ci hanno presentato una coppia di bambini perfettamente credibili, in particolare la Spilger che ha interpretato il monello Hänsel, regalando sincero divertimento al pubblico. Padrone della voce, dei fraseggi e di tutti i registri le due cantanti lavorano in un perfetto unisono.
– teatrionline.com
