Wesendonck-Lieder
“The spring concert of the Philharmonic Orchestra Riehen … became a sensation. The Zurich-based mezzo-soprano Melanie Forgeron was responsible for this, as she trumped with the Wesendonck songs by R. Wagner. … Melanie Forgeron made the songs a great experience. Her far-reaching depth was sustainable and well-sounding. The effortless height enveloped the audience and created deep well-being.”
Die Oberbadische, “Triumph der Sopranistin”, 8th April 2019
Un Ballo in Maschera
“Whenever the graceful Melanie Forgeron appeared as the fortune teller Ulrica, she captivated the audience.”
De Volkskrant, Persis Bekkering, 24.05.2018
“Melanie Forgeron (…) interprets the ominous role of the mysterious fortune teller Ulrica with a gorgeous, dark voice and a convincingly gloomy demeanor.”
Theaterkrant, Laura Roling, 19.05.2018
Xerxes
“Melanie Forgeron uplifted the title role with her agile mezzo …”
Online Musik Magazin, “Barockspektakel aus Papier”, 3.5.2015
„Melanie Forgeron shines as the Persian King Xerxes. She alternates between childlike enthusiasm and dangerous determination, while lending the figure her vocal and dramatic depth.“
Westfalen Blatt, 2015
Saint-Saens “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, “Beklemmendes Psychodrama”, 29.9.21014
„We were also presented with a great vocal performance by … Melanie Forgeron as the servant Suzuki.”
Lippe aktuell, “Liebe, Lüge, Wahn und Schmerz”, 4.10.2014
The Rape of Lucretia
„Excellent! Melanie Forgeron in the title role.”
Opernwelt, 6.7.2014
„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, Juli 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 fern und doch so nah”, 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
Mahlerlieder aus „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 Halle 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 Halle 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 premiere 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, “Spritzige Bielefelder Inszenierung”, 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 und Gretel
„… led by the title heroes. This cannot be sung or acted better, more adequately, more ideally than … and Melanie Forgeron (Hansel).”
Heidenheimer Zeitung, “Hänsel und Gretel ein musikalischer Leckerbissen”, 16.12.2012
