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La clemenza di Tito (Mozart), Orchestra of the 18th century:


“... Mezzo Rosanne van Sandwijk (Annio) is very appealing; with subtle frasing she gets under your skin with an aria like ‘Tu fosti tradito’.”

   NRC Handelsblad, 08.10.2017 - M. Spel


“... Rosanne shows a powerful and yet mediating Annio.”

   Volkskrant, 09.10.2017 - F. van der Waa


“... Rosanne van Sandwijk made a true pearl out of the role of Annio. The duet she sang with Servilia was a highlight of magic and pure beauty.”

   Trouw, 10.10.2017 - P. van der Lint

  



Le nozze di Figaro (Mozart), Opéra de Nantes:


“... Cherubino is in the centre of the intrigue in this production, both the Countess (out of spite) and Susanna (out of curiosity) indulge themselves in his embrace. With her interpratation, Rosanne van Sandwijk offers us both fine and light tones, using the manly qualities she has delicatly and with beauty. Her facial expression and her acting make for an very convincing page.”

   Olyrix Nantes, 08.03.2017 - D. Dutilleul


“... Rosanne van Sandwijk played the role of Cherubino with great conviction, which Patrice Caurier and Moshe Leiser took great care of from a dramatic point of view. Vocally did she not only sing her two bravoure aria’s flawlessly, noticed and appreciated by the audience, but she responded to the other singers on stage with authority and great knowledge of her role.”

   Webtheatre, 09.03.2017 - J. Estapà




Le nozze di Figaro (Mozart), Orchestra of the 18th century:


“... Rosanne van Sandwijk gave a lovely performance as the page Cherubino, her light lyric mezzo-soprano was smooth and honey-toned and she acted with all the energy mixed with awkwardness of a hormone-fuelled teenager.”

    Bachtrack, 20.10.2015 - N. Nguyen


“... And then the best boy from the class: Rosanne van Sandwijk. She makes a great performance out of Cherubino, boyish, coy and pubertal, clumsy, touching and moving.”

    Telegraaf, 08.10.2015 - T. Wind




Le nozze di Figaro (Mozart), Opera Kiel:


“...Rosanne van Sandwijk shines; her delightful lanky-boyish Cherubino sniffs the female fragrance everywhere, fumbles around with all the women, beguiles with sound and attitude.”

Kieler Nachrichten 09.03.2015– Ch. Strehk


“...Rosanne van Sandwijk presents her Cherubino  with a delicate voice, but wunderfully tomboyish. No female curves are safe for his feverish fingers. ”

Schleswig-Holsteinische Landeszeitung 09.03.2015– Ch. Kalies




Eugene Onegin (Tschaikowski), Opera Kiel:


“...A special identification with the different roles was tangible. Rosanne van Sandwijk is with her light fluent mezzo voice a contrasting and sparkling Olga.”

Opernwelt 03.2015– G. Asche




Winterreise (Schubert), Opera Kiel:


“Rosanne van Sandwijk sang her first Winterreise with a wonderful natural bendable, lyric glowing mezzo soprano voice. She brought unexpected freshness to the cycle without losing any of the needed enigmatic depth. On the contrary: she portrayed the fatal, deadly dimension from the first song until the last.

In concentrated focus, from time to time effectively supported by gesture and mimic, glides her voice weightlessly through the 24 sophisticated pieces of art, rich in contrasting volume and colors, impeccable in intonation and with great feeling for the differentiation in vocals and sounds of the heart.”

Kieler Nachrichte 14.01.2015–C. Strehk




Mass in c minor (Mozart), Orchestra of the 18th century, Concertgebouw Amsterdam:


“ A loving memorial to the great inspirer Frans Brüggen; (...) an impressive solo of mezzo Rosanne van Sandwijk”

NRC Handelsblad 22.10.2014 – P. van der Lint




Atys (Lully), Opera Kiel:


“ Accompanied by two groups of continuo, the singers were able to unfold their artistry. Above all Rosanne van Sandwijk as the mother of Gods with six breasts, Cybele, although throughout youthfully portrayed. In the beginning still reserved, her refined mezzo soprano voice unfolds many rich colors in exuberant emotions. ”

Opernwelt, nov. 2014


“ Most impressive is Rosanne van Sandwijk’s Goddess Cybele, the alternation of static gestures and emotional vibration works perfectly. She uses her well controlled mezzo voice in a very discrete manner, and lets it bloom more powerfully towards the dramatic end. ”

Kieler Nachrichten 06.10.2014 – O. Stenzel


“ Rosanne van Sandwijk’s Cybele was penetrating, both in acting and vocally, and impressively authorious. ”

Operapoint 06.10.2014




Cosi fan tutte, Orchestra of the 18th Century:


“ I was pleasantly surprised by Rosanne van Sandwijk’s Dorabella. Her light mezzo soprano voice and her conscious way of singing and portraying the words have both grown tremendously over the years. She also show a great feeling for theatre and all in all, she seems to be growing into a much wider repertoire.”

Opusklassiek 31.09.2014 - P. Korenhof


“ Rosanne van Sandwijk adds a darker color to the spectrum as Dorabella, but stays despite that fresh and girly.”

Volksrant 10.10.2013 - B. Luttmer




Johannes Passion, Orchestra of the 18th Century:


“ The only famous aria of the oratorio ‘Es ist vollbracht’ , beautifully accompanied by viola da gamba, was movingly sung by Dutch alto Rosanne van Sandwijk.”

Bachtrack 22.04.2013




Dido, Operadagen Rotterdam:


“ Mezzo soprano Rosanne van Sandwijk sang her fate with stilled intensity.”

NRC Handelsblad 23.05.2011 – F. Don


“ Rosanne van Sandwijk colored Dido’s agony with subtlety, with small gestures and a voice that explored the nuances of her role wonderfully . […] The ending is crushingly beautiful.”

De Volkskrant 23.05.2011 – B. Luttmer




Internationaal Vocalisten Concours:


“ Rosanne van Sandwijk kept the Dutch honor high with a beautiful mature performance. In comparison with the others, I found her very self-assured, in the pleasant sense of the word. [...] I hope we’ll be hearing a lot more from Van Sandwijk.”

Place de l’Opéra




Schubertiade, Concertgebouw:


“ Van Sandwijk exuberates a grand sound with variegated ways of expression, and knows furthermore how to give each part of every text the right coloring.”

De Volkskrant 20.07.2010 – F. Van de Waa




L’isola disabitata:


“ Rosanne van Sandwijk is a beautiful, convincing Costanza. Her voice is deep, rich, full and everything else you can imagine with a voice that just sounds really good.”

Operamagazine 18.08.09 – J. Kooiman


“Mezzo Rosanne van Sandwijk makes it into a glistening diamond. An eternal waste it’s only performed two times.”

NRC Handelsblad 20.08.09 – J. Valkenburg