Ja
"The fresh-voiced Finnish-Sweedish mezzo-soprano Jenny Carlstedt was making her U.S debute as the mysterious lost soul, Melisande.....
Neither Degout nor Carlstedt needed full stage trappings to draw the audience into the inner drama of the hapless young lovers: they acted through their singing.....
Carlstedts success was all the more remarkable given that she had sung her first Melisande only last October at the finnish National Opera.
As beautiful as she was to look at, she conveyed the enigmatic heroin's innocence, fragility and vulnerability through her luminous purity and musicality of her singing. She made telling use of stillnesss as well, moving not a muscle as quiet rapture played across her fetures."
John von Rhein Chicago tribune 15.5. 2015
PELLÉAS ET MÉLISANDE May 2015
CHICAGO SYMPHONY ORCHESTRA
Esa-Pekka Salonen
Stephan Degout Pelléas
Willard White Goloud
J"Jenny Carlstedt was a wonderfully affecting Mélisande...in her U.S debute , Carlstedt conveyed the vulnerable sadness of the Mysterious waifish girl. Her flexible voice and credible stage caracterization were especially touching in the fragile, otherworldly tone of Mélisande's final moments."
Lawrence A. Johnsson Chicago classical reviewe
May15 2015
"...mezzo Jenny Carlstedt making her U.S debute was a mesmerizing Mélisande...
Degout was a passionate Pelléas, fully matched by Carlstedt's Mélisande. Her highly expressive soprano caught both Mélisande's frightened, damaged soul and her joy in Pelléas love"
Wynne Delacoma Musical America. May18 2015...
Pelléas et Melisande oct 2014
Finnish National Opera
"Jenny Carlstedt was just exellent as the delicate and mysterious Mélisande.Her international experience was manifested in the beautiful, cultured voice and in free subtile acting."
Riitta-Liisa Mäkipaasi suomenwagnerseura october 2014
"Jenny Carlstedt debutiert nun in der rolle des Komponisten. Sie muss sich weder schauspielerish noch sängerich hinter ihrer Rollenvorgänger verstecken. Ihre Stimme ist schlanker als die der Mahnke, was gut mit der Darstellung eines jungen Mannes verträgt. Bei der Carlstedt zeigt sich auch, wie sich eine Stimme entwickeln kann. Wer sie in den vergangenen Jahren im lyrischen Stimmfach verordete und sie vor allem Mozartpartien schätzen lernte, stellt nun erstaunt fest, wie ihr Mezzosopran an Volumen gewonnen hat und selbst ins Dramatishe Fach wiesende Wendungen gut bewältigen kann. Ingesamt eine überzeugende Leistung."
"Jenny Carlstedt made her debut in the role of the composer. She has no need, neither acting vise nor vocally, to hide behind her role predecessor. Her voice is slimmer than the Mahnke, which works well with the appearance of a young man. Carlstedt also shows how a voice can develop. Those who in recent years arranged her in the lyrical vocal category and learned especially to appreciate her Mozart roles, are now surprised to find how her mezzo-soprano has gained in volume and can now handle the Dramatic Parts as well. Overall a convincing performance "
Michael Demel 10.12.2014
der opernfreund
Die Schlaue Fuchslein
(Cunning little Vixen)
Oper Frankfurt 2016
Role debute Fox
"..da Jenny Carlstedt als Fuchs überzeugend Burschikos daher radelt und mit männlichen Habitus die Füchsin begehrt. Carlstedt agiert darstellerisch und Stimmlisch so überzeugend, dass man ihre differenzierte Gestaltung der Partie als Selbstverständnis wahrnimmt."
"Jenny Carlstedt sings and acts the role of the Fox so brilliantly,cycling around on her bike like a lad,her desire for the vixen so masculine,that you are compleatly convinced"
Opernnetz.de 24.4 2016
"Jenny Carlstedt als Fuchs und Louise Adler als Fuchsin spielen die Scheu vor einander, den drang zu einander im ersten Verliebstsein so suggestiv, dass man für diesen Moment weder Tier oder Wald vermisst"
FAZ April 2016
REVIEWS
ARIADNE AUF NAXOS
Oper Frankfurt 2014
Komponist
VERDI REQUIEM
Kölner Philharmonie
27.3.2017
"..dabei besitzt die Altistin Jenny Carlstedt ein äusserst wohlklingendes Timbre,das sie ungemein musikalisch einsetzt."
"..there the alto Jenny Carlstedt has a very beautiful timbre, which she uses tremendously musically."