Sara Hershkowitz possesses a flexible, beautiful voice with huge presence—a wild, beautiful animal— with which she masters the frivolous love doll Olympia, the morbid sensuality of Antonia, and the coldness of professional-seductress Giulietta.
The young soprano Sara Hershkowitz triumpths quite sensationally as the four heroines. A passionate performer, she effortlessly masters the different vocal and dramatic demands: The Antonia Act ( director: Christopher Alden) despite the break in logic, gets under ones skin the most, which is clearly also due to Hershkowitz´s intensity as a performer.
Whether with capricious coloratura as Olympia and various acrobatic body movements, the long, warm, lyrical outpourings as Antonia in her intense angst, or the sharp sensuality of Giulietta, one thing is clear: with Sara Hershkowitz, the ensemble has won the lottery.
The Los Angeles born Sara Hershkowitz presents herself as a thrilling actress with a model figure and a lyrical coloratura that is ideal for the four heroines.
The brilliant coloratura role of Zerbinetta is sung with coolness and charm by the American soprano Sara Hershkowitz, who has the audience eating out of the palm of her hand.
As Zerbinetta, Sara Hershkowitz sang with remarkable agility and command of her top register, combined with touching sincerity in her duet with the composer.
As the jester-queen Zerbinetta, Sara Hershkowitz does a fantastic job with fine comic timing in the breakneck twelve minute long aria Grossmaechtige Prinzessin.
As the Governess, Sara Hershkowitz inspired limitless enthusiasm. Her slender controlled soprano, with it’s light, attractive height, and her intensity as an actress were the ingredients for her outstanding performance.
In the central role of the Governess, Sara Hershkowitz jumped in for the ailing Nadine Lehner. With her expressively strong lyric soprano and her articulatory exact word treatment, she was capable of transforming into an ever-more despairing figure, and gave a strong character-profile.
Sara Hershkowitz played the Governess with great empathic intuition.
The audience offered the brilliant and exhausted Hershkowitz four ovations… with her superb soprano voice, she punctuated the frightfull interpretation.
Sara Hershkowitz is practically the perfect incarnation of the Governess’s ambiguity, able to calmly communicate repressed hysteria, then a near-calm that is somehow terrifying, all the while in full control of the jagged tessitura with absolute precision, flawless intonation, clarity, and pleasing tone.
As Konstanze, the American singer Sara Hershkowitz brings the poise and confidance of a Queen of the Night to her top notes. With admirable, seemingly effortless lightness, she masters the difficult role. And she sings her bravura-aria Martern aller Arten with so much expression and finesse, it is a joy to listen to her.
The role of Konstanze is sung by the American soprano Sara Hershkowitz. She delivers to us her pure voice from the very first aria “Ach ich liebte” in spite of the tension imposed on her by the eleven high D’s. She reveals to us brilliantly the portrait of a tragic heroine
Sara Hershkowitz delivers the Infantin with a flawlessly lead soprano and a slightly cool, doll-like Coquettishness.
Sara Hershkowitz is the beautiful villain with her attractively playful woman/child cruelty and a fittingly cool soprano timbre.
Sara Hershkowitz was a vocally virtuosic, perfectly acting and playfully heartless Infantin.
Sara Hershkowitz as Donna Clara is as cold as ice, her soprano shines like gleaming silver.
…The saucy, heartless Infantin (piercingly clear: Sara Hershkowitz).
Breathtakingly expressive and stunningly beautiful, Hershkowitz allows the coloratura of Zaide to move like pearls through her throat, with more lightness than spoken language could ever dream of achieveing. The staging… Stop. Back again to Hershkowitz. Sure, the two orchestras, the synchronized conducting of Daniel Montane in the orchestra pit and Florian Pestel on stage were poised, also Benjamiun Bruns as Gomatz was excellent, and Yaron Windmüller and Noa Frenkel shone as the Man/ Woman pair from Adama… But Hershkowitz is simply the perfect opera singer. Not only does she sing absolutely precisely, clear, and pure… Hershkowitz stands on the stage without embarassing pathos, without over-used false feeling, and without a cramped upper lip. She embodies her role better than some actresses could. A force.
Sara Hershkowitz was a wonderfully beautiful singer and a touching Zaide, who took on charismatic features at the end with her calls for peace.
Happily, the splendid Sara Hershkowitz is already at the theater and vocally outshines the entire ensemble in her role as Adele. On one hand, the naive chamber maid, on the other the saucy girl who invents a story of a sick aunt so as to attend Orlovsky’s ball – all of this Hershkowitz masters with absolute vocal confidence, pearly coloratura, and a playful wittiness that brought the public great joy.
…And Sara Hershkowitz, as the ultra-cool Gepopo, could stand on any straight-actors stage. Yet this would be a shame, as to hear her flexible, perfectly balanced soprano is an experience.
As the Queen of the Night Sara Hershkowitz shot out her high notes regally and dead-on accurate.
Sara Hershkowitz (Queen of the Night) sang her lyrical first aria as well as her rage-filled second aria with fantastic, pitch-perfect coloratura.
…Sara Hershkowitz is a poised and confident Sophie, with her fine soprano, clear diction, and flawless intonation, …
Sara Hershkowitz enchants as Sophie, with her silvery timbre and finely polished high tones.
Sara Hershkowitz is somehow perfect as Donna Anna, and with her eye-rolling gestures created real satire out of the hysterical coloratura outbursts.
Sara Hershkowitz sang Donna Anna with passion, bite, and vocal polish.
Sara Hershkowitz as Donna Anna delivered an intense study and scored high points with the role.
One cannot help but fall for the charm of the beautiful Sara Hershkowitz. Heartbreaking, she interprets Donna Anna with an unusual psychological finesse, which elevates the character. Gone are the tears and groans! Forgotten, the capricious girl looking sulky. Sara Hershkowitz gives Donna Anna the nobility and dignity that exudes from the Mozart score. Scorned and orphaned in one night, she takes her life resolutely in her hands. For this American soprano alone, it is worth the trip.
…The prize goes undeniably to the young American soprano Sara Hershkowitz. She embodies Donna Anna with a haughty dignity and gives the character a substance that one rarely sees: that of a victim who is neither teary, filled with hate, nor resigned.
Last but not least, the ravishing and haughty Zanaida of Sara Hershkowitz contributes a fruity timbre, ideally emphasized in her arias with a pathos that lacked vapidity….The high point of the party was, of course, the sublime ‘Parto addio….’ staggeringly beautiful, as much vocal as instrumental.
The sculpture-like Sara Hershkowitz is a magnificent Zanaida who shines in her arias… Her nobility of expression evokes Veronique Gens, but less cold, and her farewells would bring tears to the eyes of a stone.
As Zanaida, the American soprano Sara Hershkowitz sang the Sultans daughter with assuredness in the coloratura, fully equipped with dignity and subliminal passion. Her lyric soprano voice shows individuality, a bit cool timbred, but self-confident, with a well-reined expressivity.
Sara Hershkowitz sang the title role with her warm, agile soprano and gracefully maneuvered the breakneck coloratura.