Review as Lady Saphir in Patience with English Touring Opera (Summer 2017)

Particular mention must go to Suzanne Fischer who played Saphir. Fischer perfectly captures the spirit of Gilbert and Sullivan. Her energy and presence are captivating and she creates a lively depiction of Saphir.
Marina Spark, The Reviews Hub

Review for the revival in Cuvillies Theatre as Berta in Il Barbiere di Siviglia (Jan 2017)

Dazu das prächtige Bühnentier Suzanne Fischer (with the splendid stage-animal Suzanne Fischer)
Egbert Tholl, Süddeutsche Zeitung

Review from recital with Bo Skovus and Matti Hirvonen at the Holywell Music Room in the Oxford Lieder Festival (October 2016)

If Skovhus didn’t seem inspired by the concluding clutch of songs, he rose to the challenge of the Lieder und Gesänge aus Wilhelm Meister. For this he was joined by the soprano Suzanne Fischer, the winner of a Young Artist Platform award and already a mature and thoughtful performer.
Rebecca Franks, The Times

Reviews as Berta in Il Barbiere di Siviglia with Münchener Kammeroper (August 2016)

Suzanne Fischer als kraftvoll angereicherter Sopran (Suzanne Fischer sings with a powerful and rich soprano)
So bleibt ein intensiv-bunter, amüsanter Abend mit begeisternd guten, jungen Stimmen und echten Sänger-Schauspielern. (A colourful, amusing evening with excitingly good young voices and real singing-actors.)
Adrian Prechtl, Abendzeitung München

Suzanne Fischer erquickt als emanzipierte Haushälterin Berta mit silbrigem Sopran und darf sogar mit zwei Arien punkten. (Suzanne Fischer is refreshing as empowered housekeeper Berta with silvery soprano and is even allowed to score with two arias.)
Gabrielle Luster, Münchener Merkur

Reviews for the Kathleen Ferrier Awards 2015 FINAL (24th April 2015)

[Suzanne Fischer] began her programme with Constanze’s ‘Ach, ich liebte’ from Mozart’s Die Entführung aus dem Serail, in which a variety of vocal colours persuasively conveyed emotion, while Schubert’s ‘Suleika II’ saw both Fischer and her accompanist Nicholas Fletcher scale the virtuosic challenges impressively, demonstrating clarity of line and considerable dexterity respectively. Fischer was a suave and confident Musetta in ‘Quando m’en vo soletta’ from La bohème, her waltzing phrases blending coquettish charm and tenderness.
Opera Today, Claire Seymour

Reviews from ARIODANTE for Tristan & Associates (October 2014)

GB: Ich fand Katharina Thomas (Ariodante) Duett mit Suzanne Fischer (Ginevra) im ersten Akt (“Prendi da questa …”) einfach bezaubernd. Das wirkt echt, weckt Emotionen.
CT: Auch mich hat Frau Fischer sehr beeindruckt. Sie hat eine wunderbare Höhe und die Kraft, diese auch am Ende einer schwierigen Arie, in Ketten geschlagen, in Fortissimo zu bringen. Höchste Konzentration wird von ihr erwartet, als sie ohne Blickkontakt zum Dirigenten eine sarabandeartige Arie im schwierigen 3/4-Takt mit ihren vielen Pausen meistert. Da braucht man eine starke innere Ruhe. Das war großartig.”

GB: I found Katharina’s (Ariodante) duet with Suzanne Fischer (Ginevra) in Act I (Prendi da quest…) simple enchanting. It aroused real emotion.
CT: I was also very impressed with Miss Fischer. She has a wonderful height in the voice, and the strength, at the end of a difficult aria, whilst in chains, to bring it to its climax. Highest concentration is expected from her as she mastered, without contact with the conductor, a Sarabande Aria in difficult 3/4 rhythm with many pauses. For that, one has to have a real inner calm. It was fantastic.”

Read the entire article (in German) here.

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