Reviews
"...all the singers in Hagen perform exceptionally well, guest artists as well as their own ensemble.
Christine Teare, with her versatile voice, succeeds in showing the complex nature of Elektra as is seldom heard these days.
She not only portrays her revengefulness impressively with dramatic sounds - but, in her passages remembering her own childhood, she magically produces lyrical lines bestowing on her Elektra an impressive complexity...
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"Lisa Gasteen the, Cardiff singer of the World was ill on the night I saw Ballo and her replacement Christine Teare, is a touching and hugely promising Amelia. "
Here is the new young Brünnhilde Britain has been desperately seeking for many years - a voice of supreme power and beauty totally confident and self assured - Tom Sutcliffe in the London Evening Standard called her Brünnhilde in Der Ring "authentically ripping and formidable" and Barry Millington in The Times called her "outstanding". In The Guardian she was praised, following her 1996 performance in Korngold's Die Tote Stadt "...not just for her stamina but for her unflagging ability to communicate so much of this loud, opulent and very remarkable piece of late Romantic opera".
"It is difficult to imagine someone with such infectious enthusiasm and genuine joy of singing as displayed by Christine. Here is a really glorious voice and one which deserves to be heard in all the great opera houses of the world."
"The Brünnhilde of Christine Teare - honeyed in tone, assured in style, and passionate in nature - is definitely one to watch."
‘Here is the new young Brünnhilde Britain has been seeking for many years – a voice of supreme power and beauty, totally confident and self-assured’
‘The demands of stamina and register made on the soprano are more heroic still, but Christine Teare was magnificent’
"Korngold fanatics who packed into the Queen Elizabeth Hall for the British premiere were treated to a feast of brilliant playing and singing last night. But if the opera was no great revelation, the outstanding performance of Christine Teare certainly was."
"...all praise is due to Christine Teare not just for her stamina but for her unflagging ability to communicate so much of this loud, opulent and very remarkable piece of late romantic opera."
"The soprano Christine Teare threw herself into the role of Marietta with a lot of vitality and character. Probably very few big international stars would have done better in the circumstances."
"...Christine Teare's full-blooded Marietta was a real tour de force."
"Christine Teare made a strong and vivid impression with a steady, even tone; she clearly revelled in the part. She was especially fine in her long monologue in Act III."
"...Korngold expects an unreasonable amount of singing. In Christine Teare he found a vocally secure and formidably dramatic focus for his torrid imagination."
