Press

Xerxes

“Melanie Forgeron uplifted the title role with her agile mezzo …”
Online Musik Magazin, “A Baroque spectacle made of paper”, 3.5.2015

Saint-Saëns’ “Oratorio de Noël”

“…Melanie Forgeron’s (mezzo soprano) rendition of the aria ‘Expectans, expectavi Dominum’ was brilliant.“

“ … The velvety timbre of mezzo soprano Melanie Forgeron…”
Neue Westfälische, “Europäische Weihnacht”, 16.12.2014

Madame Butterfly

“As Suzuki, Melanie Forgeron succeeds with a velvety-empathetic mezzo hue.”
Westfalen Blatt, 29.9.2014

“Powerful: Melanie Forgeron.”
Neue Westfälische, “Disturbing psychological drama”, 29.9.21014

“We were also presented with a great vocal performance by … Melanie Forgeron as the servant Suzuki.”
Lippe aktuell, “Love, lies, madness and pain”, 4.10.2014

The Rape of Lucretia

“With Melanie Forgeron as Lucretia in the centre. She cautiously builds up the crescendo, giving her mezzo the necessary space and time to unfold. She creates the figure’s tragedy with almost imperceptible vocal colour changes, fine dynamic accents and the mesmerising sensuality of her alto register.”
Opernlounge.de, July 2014

“Melanie Forgeron positions her alto notes so unadornedly statuesque that both Lucretia’s strength and her vulnerability become sensually tangible.”
Die deutsche Bühne, “So far and yet so near”, 26.5.2014

“Melanie Forgeron as Lucretia is the ideal role. With her darkly shaded mezzo, she perfectly fills the burden, the deep sadness of the role, but also flexibly masters the short, brighter emotions.”
Westfalen Blatt 26.5.2014

Mahler’s Lieder from “Des Knaben Wunderhorn”

“Melanie Forgeron’s and Alexander Kalajdzic’s rendition of the Lied “Urlicht” was so moving, that breathless silence prevailed. The mezzo soprano offered her listeners a sophisticated interpretation in every respect. Her vocal culture, from a wonderful timbre to lyrical lightness, even at extreme pitches, all the way to her clear diction and an unobtrusive yet expressive facial expressions removed any mellifluousness or banality.”
Westfalen Blatt on her performance at the Rudolf Oetker Halll on 16.12.2013

“For this I need the voice and simple expression of a child, just as – from the sound of the little bell onwards – I imagine the soul in Heaven.” …. This little bell could be heard during the 3rd Chamber Concert of the Bielefelder Philharmonics – in the voice of Melanie Forgeron…… Mahler’s intonation of the ›Urlicht‹ to the ›Highlight‹ … Forgeron’s coloraturas in ›Wer hat das Liedlein erdacht› are rendered as wonderfully light …”
Neue Westfälische on her performance at the Rudolf Oetker Hall on 16.12.2013

Cosi fan tutte

“With a warmly melting note, Melanie Forgeron convinces as a Dorabella, who does not hesitate.”
Westfalen Blatt about her première on 07.12.2013

“Melanie Forgeron has increasingly gained in stature; she impresses with her darkly rich timbre, noble mezzo and presents a Dorabella, who walks the path of infidelity with great determination.”
Neue Westfälische, “Lively production in Bielefeld”, 10.12.2013

Eugen Onegin

“In her role as Olga, Melanie Forgeron left nothing to be desired, neither musically nor theatrically.”
Ostwestfalenblatt, 11.03.2013

“Melanie Forgeron (Olga) impressed with her well-balanced voice at a lower pitch, elucidated even more by the great volume of her voice.”
Opernpoint 11.3.2013

Hansel and Gretel

“ … led by the title heroes. This cannot be sung or acted better, more adequately, more ideally than … and Melanie Forgeron (Hansel).”
Heidenheimer Zeitung, “Hansel and Gretel – a musical treat”, 16.12.2012