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"... the vocal cast, structured around the maid Adele, soprano, an overwhelming Alina Wunderlin..."

"First and foremost, Alina Wunderlin's powerful Queen of the Night, with her razor-sharp colouratura and brilliant stage presence. However, the Frankfurt-born soprano had far more to offer than mere circus-like showmanship in "Der Hölle Rache". She offered personality and a mature vocal line in all registers and earned ovations.”

Das Opernglas 12/2023

"Alina Wunderlin, one of the evening's great triumphs, also burns up the stage as Adèle, with her clear, silvery emission."

"The young German soprano Alina Wunderlin's Adele is very lively and uninhibited in the colouraturas."

"Powerful as an empress, Alina Wunderlin shines in the heavenly heights of the Queen of the Night, letting the fury of the gods of vengeance boil on stage. With burning passion, she pulls Prince Tamino under her veil as she passionately sails up and down the colouraturas. As if she were playing the triplets and octave arpeggios with her left hand on the piano! [...] There is a glaring lack of such voices in all corners of the opera world!"

Klassik begeistert

"... Queen of the night with glistening colouratura..."

Abendzeitung München

"... the pretty Forest Bird [...] seductively sung and played by Alina Wunderlin..."


"All the performers on stage are united by a captivating effortlessness and perfection in the rapid tempi, which almost makes you feel sorry for Alina Wunderlin as the Queen of the Night in the two bravura arias, for example.

But Wunderlin doesn't seem to be singing, even in the crazy high notes, but reciting crystal clear and as bright as a bell."

"The German Alina Wunderlin as Adele (her singing was brilliant in Spiel ich die Unschuld vom Lande, very secure in all tessitura), [...] who gave a stupendous performance and deservedly emerged as the great winner of the evening.”

"Betsy Horne in the title role and the incredibly agile Alina Wunderlin as Zerbinetta were at all times vocally supple to the most heavenly coloratura heights."

"[...] an ensemble that is worth listening to. First and foremost Alina Wunderlin, who creates the Queen of the Night with a wonderful voice and virtuoso coloratura between desperate maternal angst and a goddess of vengeance overcome by anger."

Orpheus Magazin

"Alina Wunderlin's voice makes this Zerbinetta an event. With supple legato she shapes the coloratura in her aria "Großmächtige Prinzessin", giving her role compelling presence by virtue of her unstrained, beguiling voice."

Salzburger Nachrichten

"... what an enchanting creature of nature this Forest Bird is! Soprano Alina Wunderlin, also highly agile as a dancer, pecks, hops and romps around Siegfried."

Süddeutsche Zeitung

"In the arias of Viennese operetta and the magnificent poems set to music by the Strauss dynasty, the voice of this colouratura [...] works wonders. None of her high notes gave cause for fear, none of her breaths betrayed anguish. Throughout the evening, Alina Wunderlin conjures up a gentle atmosphere in the saintongeais sky: both intense and very restful."

"Alina Wunderlin moves at breathtakingly icy heights as the Queen of the Night."

Münchner Merkur

"Alina Wunderlin is more than worth hearing as queen of the night with, a steely voice and razor-sharp colouratura [...]."


"Musically, there is nothing to criticise: The cast is outstanding, starting with world star René Pape as Sarastro, the marvellous coloratura soprano Alina Wunderlin as the Queen of the Night [...]."


"And when Alina Wunderlin as the Queen of the Night hurls out her colouratura in "Der Hölle Rache kocht in meinem Herzen" with verve and astonishing perfection, you better take cover."

"Alina Wunderlin's Blonde  has a lot of self-confidence, too. Listening to her lightly appealing, lyrical soprano is a pleasure".

"It was down to Alina Wunderlin, as the Queen of the Night, to give us real expressive beauty, true emotion and a

sense of connection with Mozart."

"Alina Wunderlin was a dazzling Queen of the Night, with crystal accuracy and energy, but also capturing Barbe & Doucet’s intention to elicit some sympathy for the character, shifting away from the usual one-dimensional pantomime baddie."

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