Press
Josefine Göhmann
PORTRAIT on "Josefine and réBelles!"
by TOM R. SCHULZ // Elbphilharmonie Hamburg
...IMPRESSIVELY NON-CONFORMIST
‘...But anyone speculating on the predictably zeitgeisty quickly learns on listening that Josefine Göhmann is aiming for something else. In almost two dozen ‘Portraits lyriques’, she unfolds a panorama of ‘images of women from 1900 to 2020’ with her warmly timbred and precisely guided voice. (...) There is no doubt that Josefine Göhmann is a highly individual and independent-minded artist who thinks long and hard about what she wants to contribute to the world of music and why. (...) At the beginning and at the end, in the two astonishing works that Josefine Göhmann herself commissioned from two female composers, she performs melodic and loud high-wire acts without any piano accompaniment. Even the most daring melodic progressions in some of her other songs are realised with sensitivity and a captivating sense of beauty. She is just as comfortable with the dramatic as she is with the pale sound, the lush sweetness of individually blossoming notes as well as a dreamlike bel canto. This singer comes close to you, because even the unprotected self is always closer to her than the showy gesture of the ego. (...)
As eloquently as she is able to describe her latest projects - preferably three at once rather than just one - she constantly derives great pleasure from new or newly combined statement pieces of clothing. It can be assumed that Josefine Göhmann's well-stocked music and bookcase contains only a fraction of the number of items she keeps in her wardrobe for her game of changing identities. You can still be beautiful and appear beautiful if you want to unhinge the world as a réBelle.’
ON THE BRINK OF REALITY // Tomasz Skweres
Portrait-Album of Composer and Cellist Tomasz Skweres (*1984)
Artists: Josefine Göhmann // Soprano - Ensemble Reconsil - Antanina Kalechyts // Conductor
RSO Wien / ORF - Cornelius Meister // Conductor
a.o.
ORF/Oe1 / Sound Art: Zeit-Ton
Rainer Elstner, 20.08.2024
Mittelbayerische
"Free floating sound paintings
(…) Four Rilke settings become small chamber music miniatures in refined instrumentalisation (sic) in combination with the highly demanding vocal part. The soprano Josefine Göhmann lends Rilke's poems tremendous intensity, ...’
Andreas Meixner, 15./16.08.2024
nmz // Neue Musik Zeitung
´Unmistakable (...)The composer Tomasz Skweres demonstrates a sense of sound and lyrical empathy on this portrait CD. He lends the works of Rainer Maria Rilke and Maria Skweres a haunting contour in chamber instrumental song cycles, while the large-scale, physically inspired quarter-hour ‘Über das farbige Licht der Doppelsterne...’ shimmers in a variety of orchestral colours.’
Juan Martin Koch, 9/2024
+++ Details +++
VÖ: 01.09.2024
DUX Recording Producers / PL
TOXIC LOVE SONGS - Judith & Blaubart
after Béla Bartók's ‘Bluebeard's Castle’.
Idea, concept and leading role of Judith: Josefine Göhmann
A resurrection of the female creators/composers murdered and strangled by cultural-historical patriarchy in three chapters and 7 doors.
Neuköllner Oper Berlin, 22.05. bis 20.07.2024
rbb / ARD Podcast
"Impressively good"
Barbara Wiegand, 23.05.2024
‘Credible and marvellously sensitive’
The work has lost none of its dark, fatalistic fascination, but at the Neukölln Opera a women's collective - the singer Josefine Göhmann, the director and lyricist Magdalena Schnitzer, the set designer Daphne Roeder and the dramaturge Änne-Marthe-Kühn - catapults it radically into a lively modernity. (...)
‘Che si puo fare’ by baroque master Barbara Strozzi is particularly touching when Judith and Bluebeard seem to have found each other shortly before the “door of tears” and the “door of death” open. Earlier, Kaija Saariaho's ‘Une autre que toi’, set to words by Simone Weil, directs Judith's gaze to Bluebeard's injuries. With a powerful soprano and flexible bass-baritone, Göhmann and Wenzel are a couple at eye level, believable in their entanglements and in the prospect of new acceptance. The ‘Toxic Love Songs’ decisively enhance Bartók - and testify to the urgent need to recognise the work of female composers of all eras.’
Isabel Herzfeld, 23.05.2024
TAGESSPIEGEL / ‘Spielzeit’ monthly supplement May 2024
‘The German-Chilean singer now incorporates her reflections on self-determination and female
role patterns into the music theatre piece ‘Toxic Love Songs: Judith and Bluebeard’ at the Neukölln Opera. The artist has further developed the project she conceived in a collective working process. (...)
The production at the Neukölln Opera goes beyond the legend and reflects on the abysses in a relationship between a man and a woman from today's perspective. ‘Can the other person potentially threaten me? Can I really trust him?’ asks Göhmann. ‘Maybe it's about the fear that your partner could potentially kill you. That you're putting your life in danger in some way if you get completely involved with someone.’
The singer reveals that she had the idea of presenting works by various female composers behind the seven doors. The ‘Toxic Love Songs’, which are juxtaposed with Bartók's music, are songs by Clara Schumann, Mel Bonis, Adolpha Le Beau, Lili Boulanger, Ethel Smyth, Barbara Strozzi and Kaija Saariaho, who died last year. Bartók's opera is like a whirlpool that sweeps you away, says Göhmann. The ending remains open, but everything indicates that Judith, like Bluebeard's previous wives, dies a violent death. She wants to give this story a surprising twist. ‘The women who have been brutally silenced by the patriarchy should be given a voice here.’
Portrait text by Corina Colbe
TROIS CHANSONS DE BILITIS // DEBUSSY
"EXTASE" (MARIO HÄRING, BERLIN CLASSICS X DEUTSCHLANDFUNK)
As a guest artist alongside clarinettist Sharon Kam, flautist Clara Andrada de la Calle and cellist Alexandre Castro-Balbi, Josefine Göhmann is featured on the new piano solo album by renowned and award-winning pianist Mario Häring.
NOMINATION
PREIS DER DEUTSCHEN SCHALLPLATTENKRITIK
LONGLIST 2 / 2024
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FUNK-/RADIO-FEATURES
Bremen zwei // 25.02.24 // Klassikwelt - Wilfried Schäper
Radio Stephansdom // 27.02.24 // CD des Tages - Pressfrisch - Ludwig Coss, MartinBöhm
NDR Kultur // 27.02.24 // Der Vormittag - Anna Novák
DLF Kultur // 03. & 04.03.24 // Tonart
WDR 3 & ARD Podcast // 05.03.24 // Hörstoff - Miriam Stolzenwald
MDR Klassik // 09.03.24 // Hoffmeisters Empfehlungen
Deutschlandfunk // 06.05.24 // Musik-Panorama - Thilo Braun
//
REVIEWS
WDR 3 Hörstoff, Neue Klassik-Alben
‘Excellent: Extase by Mario Häring’
‘... that pushes forward with rhythmic beats that put me in a trance. (...) Mario Häring convinces me not only as a soloist, but also with his chamber music recordings:
This is music-making at the highest level. A fused togetherness, as here with Josefine Göhmann in the Debussy chansons.
Extremely beautiful tone colours envelop me with warmth.’
Miriam Stolzenwald, 05.03.24 (WDR / ARD)
‘... Häring compiles ten works on the CD that express the concept of ‘ecstasy’ as ‘dissolution of boundaries’ in the broadest sense. This refers above all to the dissolution of rational boundaries, which can express itself as orgiastic states of intoxication, as in Richard Wagner's Isolde's Liebestod or Franz Liszt's first Mephisto Waltz, but can also be equally introverted and inward-looking, as in the delicate ‘Chansons de Bilitis’ by Claude Debussy, which Häring performs hypersensitively with soprano Josefine Göhmann. (...)’
Pedro Obiera, 07.03.24
‘... Fascinating, too, how passionate bursts of energy emerge from the fog in Scriabin, as well as in Liszt's pianistic ‘Liebestod’ after Wagner. Häring and his colleagues are also convincing in the casual, relaxed style of ecstasy in Debussy's ‘Bilitis’ songs. An inspiring concept album.’
Ecki Ramón Weber, 07.03.24
‘... In ‘3 Chansons de Bilitis’ by Claude Debussy, the soprano Josefine Göhmann joins in. The world of the courtesan Bilitis is described here with the soprano Josefine Göhmann and the pianist Mario Häring with intense melodic sound painting. The sound becomes a personality here, including spherical moments.’
Alexander Walther, 10.02.24
Klassik Heute
10/10 x 3
Artistic quality
Sound quality
Overall impression
‘Mario Häring proves himself to be a stylistic chameleon here, who combines French tonal refinement and Teutonic keyboard magic with brilliance, subtlety and finesse. There really is nothing left to be desired. (...) Häring is also supported by other musicians on the CD: Josefine Göhman (sic.) sings Debussy's Chansons de Bilitis very finely: somewhat muted in the lower register, blossoming beautifully with increasing height and linguistically very accentuated. (...) All in all, this CD is indeed apt to make you ecstatic: the programme is extraordinarily intelligently put together, is played ravishingly and the whole thing is also handsomely packaged. Great, the ecstasy can come!’
Guido Krawinkel, 27.03.24
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réBELLES! portraits lyriques
Frauenbilder 1900-2020 // CD Produktion // Lied Album
Josefine Göhmann/Sopran & Mario Häring/Klavier//
DeutschlandRadio/Deutschlandfunk DLF & Solo Musica (2022)
DLF/MUSIK-PANORAMA // 28.03.2022
Vorstellung der Koproduktion "réBelles!" im Deutschlandfunk
Aufnahme in voller Länge und Inteview mit Josefine Göhmann
Moderation: Jonas Zerweck
//
NOMINATIONS
OPERNWELT JAHRBUCH 2022
Nomination of "réBelles! Josefine Göhmann, Solo Musica" as "Media Publication of the year" in the critics choice/"Jahrbuch 2022" (Arno Lücker).
ICMA 2023
Josefine and her Album "réBelles!" (Mario Häring, pianist; Solo Musica/Naxos) are nominated for "International Classical Music Awards 2023" in the category "vocal music".
OPUS KLASSIK 2023
Categories "Gesang Solo / Lied" & "Chambermusic Recording of the Year"
//
OPERNWELT
"Courageous rebel
Josefine Göhmann (soprano) and Mario Häring (piano) with a colourful and adventurous ride out into the ‘sea of femininity’
A play on words with the French term for ‘rebel’ can be found on the cover of a new album by soprano Josefine Göhmann and pianist Mario Häring: ‘réBelles!’. Göhmann comments: ‘Finding and defining yourself in this world has become incredibly complex. It's very difficult for us women, even though we have more than 100 years of women's rights movement and even though we have equal rights in the German constitution. I am interested in why this is so difficult or, to put it more drastically, what dictatorship of the mind we are following. Perhaps the idea that each and every one of us wants to be perfect. There are so many standards of how you should be: particularly rich, particularly beautiful, particularly successful or sexy.’
Göhmann and Häring dedicate themselves to the cultural-historical standards of female images by musically and programmatically elevating corresponding themes such as ‘virginity’, ‘mermaids’, ‘heroines’ and the Ophelia story. To this end, the soprano has even commissioned two female composers and one male composer to write new music along the lines of the subject matter. Feliz Anne Reyes Macahis (*1987) from the Philippines sets a variant of the Litanies of Lauretania to music: a cappella. Courageous! At the very beginning of the album we hear only the voice of Josefine Göhmann. The focus on femininity; openly delivered. We don't get to know exactly what she sings, but she suffers, writhes, breathes, pleads and apparently comments on herself. Then she darkens her voice, showing her astonishingly diverse vocal colour palette. If only young musicians had the same courage to start programmes, concerts and albums like this more often!
In Arnold Schönberg's 1899 ‘Jesus bettelt (Schenk mir deinen goldenen Kamm)’, Göhmann's accompanist Mario Häring proves to be a pleasantly unsentimental pianist, who does not fall into an attitude of art song pathos and rigour mortis, but initially approaches the piece in an almost folksong-like natural way. Göhmann's voice is wonderfully suited to this (forgotten) vocal literature; it finds its centre between bell-like quality and shadowed depth, especially in the completely natural, never artificial diction. Paul Hindemith's ‘Die trunkene Tänzerin op. 18 No. 1’ (after Curt Bock) does not come across as the least bit wooden (which was usually wrongly attributed to this composer's works). It gurgles, sparkles, wriggles; but bacchanalian, epicurean. Without dusty dryness.
When Göhmann sings French repertoire (such as Ernest Chausson's ‘Chanson d'Ophélie’), her pronunciation sounds as naturally fine as it is balanced and competent. No wonder, as the soprano was a member of the young talent programme at the Opéra National de Lyon from 2016 to 2018. However, she and Häring are particularly successful in Richard Strauss' “Three Songs of Ophelia op. 67” (after Shakespeare). ‘How do I recognise my faithful love before others now? By the shell hat and staff and the sandal shoes.’ Karl Simrock translated Shakespeare's original lines in such a beguiling and beguiling way: ‘How should I your true love know from another one? By his cockle hat and staff, and his sandal shoon.’ You wouldn't do that today. But firstly, Strauss takes the sting out of any potential sadness of the translation with his music by giving the piano such modern sounds as are rarely heard. It sounds more like Hindemith than Hindemith himself sounds like Hindemith! Secondly, Josefine Göhmann overwhelms us with a marvellous lightness and simultaneous emotionality, so much so that we actually no longer want to talk about ‘femininity’ as ‘a’ theme, but instead want to immerse ourselves in spheres of extremely differentiated varieties of the subject (erotic, intellectual, human, wise) by listening to this record. A big compliment!"
Arno Lücker July 2022
//
NDR Kultur
NDR Kultur à la carte EXTRA // 31.08.2022
réBelles! portraits lyriques as Live-Konzert in sound and Video-Stream with Interview (Friederike Westerhaus)
RBB Kultur
Josefine and her album "réBelles!" featured in the Radio Show "Goldberg-Variationen" by jounalist Clemens Goldberg. Talk, insights, music.
24/11/2022, 8-10 pm
FRANCE MUSIQUE/Le Disque classique du jour
"Cet album est une offre esthétique pour le discours sur la féminité, sur être une femme aujourd'hui et pour cent ans. De plus, les sentiments très personnels de l'artiste jouent un rôle dans lequel les pièces sont combinées de quelle manière. Josefine Göhmann a voulu se pencher non seulement sur les textes, les œuvres et les interprétations de femmes, mais sur notre patrimoine culturel."
Rodolphe Bruneau-Boulmier, Emilie Munera
10 mai 2022
DAS OPERNGLAS
‘Josefine Göhmann has a highly flexible, wonderfully round and powerful soprano, which also enables her to perform enormous verbal acrobatics in ‘La Vierge de Cluny, Chant d'une Femme’ by Feliz Anne Reyes Macahis. The juxtaposition of the Ophelia songs by Richard Strauss and Wolfgang Rihm is interesting. Thanks to her versatility, she shows herself to be up to all the styles represented on this album and is sensitively accompanied by Mario Häring on the piano.’
J. Gahre
Juni/2022
ORPHEUS
‘Musical rebellion
For a debut album, the young soprano Josefine Göhmann shows enormous courage. She doesn't want to win over her audience with catchy or popular songs, but with an intellectually challenging programme. That's what ‘réBelles!’, as the title suggests, definitely is. And the singer succeeds both vocally and conceptually in an impressive way. Her intention: to rebel against female patterns through artistic confrontation. In Göhmann's case, it is based on the symbiosis of painting and music. Her so-called ‘Portraits Lyriques’, inspired by 20th century paintings of women - depictions of various feminine types, such as virgins or heroines - correspond with corresponding songs written between 1900 and 2020 by composers such as Honegger, Weill and Rihm. Such stylistically different settings require technical skill and vocal variability. Göhmann possesses both, paired with emotional complexity. Whether she is oscillating between intoxication and restraint in Schönberg's ‘Schenk mir deinen goldenen Kamm’, imagining a religious state of emergency in wide intervallic leaps in Feliz Anne Reyes Macahis‘ a cappella solo “La Vierge de Cluny” - one of two commissioned compositions - or discovering a number of nuances in Richard Strauss’ three Ophelia songs, even in the sonorous high notes, she always captures the character of the pieces congenially. The only thing that could be optimised: the clearer articulation of the German texts. The vocal intensity is emphasised by Mario Häring on the piano with subtle accompaniment and equal impulses.’
Karin Coper
6/2022 (Nov, Dez)
ORF/Ö1, ZEIT-TON-MAGAZIN
Feature, Interview und Sendung aller Ersteinspielungen von "réBelles! portraits lyriques" (La Vierge de Cluny/Reyes Macahis, Die Schaukel/Wagendristel, Réquiem para un niño/Yoshida).
Vorstellung des Projektes, "von ihrer ausgesprochen klugen, durchdachten und ansprechenden neuen CD...", "bestens recherchierten und mit großer Hinwendung aufgemachten Neu-Erscheinung", "Initiatorin dieses beeindruckenden Projekts: Josefine Göhmann, ...", "Ein abwechslungsreiches Wandern durch Stile, Ansichten und Sprachklänge, sinnstiftend miteinander in Bezug gesetzt."
Redaktion und Moderation: Marie-Therese Rudolph
CLASSIQUE C´EST COOL
"Il a suffi de quelques plages pour être pleinement convaincu de l’intérêt artistique du projet. (...) Josefine Göhmann signe avec cet album, un disque-portrait qui la place dans la catégorie des récitalistes à suivre et que l’on attend maintenant sur scène pour confirmer cet essai réussi."
Hugues Rameau-Crays
DIAPASON
"… Mais la singularité intellectuelle du programme force le respect, comme sa réalisation : un timbre et un chant clairs et nets, à l'élégance déliée, un piano complice et atmosphérique, tous deux magnifiés par la prise de son. Avec La Vierge de Cluny, on découvre Feliz Anne Reyes Macahis (née en 1987); a cappella, la voix alterne avec souplesse phonèmes, effets de souffle, phrasés lyriques et bribes de texte. Aya Yoshida (née en 1971) referme l'album avec son Réquiem para un niño, autre pièce a cappella, travaillant le timbre jusqu'à sa disparition. (…) Au fil d'une écoute qui s'indifférencie dans le cristal de la voix et d'un programme kaleidoscope qui nivelle paradoxalement les styles, soprano et piano évoquent alors le Joueur de flûte qui vous entraîne à l'aveugle. (…)"
Chantal Cazaux
English translation:
"...But the intellectual singularity of the program forces respect, as well as its realisation: a clear and pure timbre and singing, with loose elegance, an accomplice and atmospheric piano, both magnified by sound recording. With The Virgin of Cluny, we discover Feliz Anne Reyes Macahis (born in 1987); a cappella, the voice alternates with flexibility phonemes, breath effects, lyrical phrasing and snippets of text. Aya Yoshida (born in 1971) [A. Yoshida, *1991. Signed: J. Göhmann] closes the album with her Réquiem para un niño, another a cappella song, working on the stamp until it disappeared. (...) Through a listening that differentiates itself in the crystal of the voice and a kaleidoscope program that paradoxically levels styles, soprano and piano then evoke the Flute Player who trains you blindly. (…)
Chantal Cazaux
OPERA ONLINE
„Ce mois-ci est paru chez Solo Musica le premier disque de la soprano germano-chilienne Josefine Göhmann, encore très – trop – peu connue et entendue en France. Accompagnée ici au piano par Mario Häring, elle livre un programme cohérent et « dessine un kaléidoscope d’images féminines de 1900 à 2020 » qui porte le nom de réBelles ! Portraits Lyriques.(…)
Ici, Josefine Göhmann propose un travail qui s’assimile à celui d’une artiste peintre, en façonnant un programme aux airs de galerie de portraits.(…)
L’auditeur est ainsi invité à admirer ces portraits, mais aussi à les mettre en lien les uns avec les autres, admirant les éclairages et jeux de lumières que chaque compositeur, tel un peintre, a insufflé à son œuvre, avec ses coups de pinceau plus ou moins marqués. (…)
Josefine Göhmann offre en effet une très belle diction, d’une grande clarté en allemand, légèrement moins en français mais cela reste plus qu’appréciable et l’on peut se passer du livret. La ligne de chant est claire et parfaitement dirigée, sans aucune cassure, ce qui permet un timbre riche, à l’aise dans l’ensemble de la tessiture. On notera également que la soprano parvient à transmettre une véritable interprétation à travers seulement sa voix, ce qui n’est malheureusement pas toujours le cas lors d’une captation au disque. L’investissement de l’artiste transpire à travers chaque plage, chaque air, et l’on respire finalement avec elle par ce même souffle qu’elle offre aux portraits présentés. Quant à l’accompagnement au piano de Mario Häring, il se révèle tellement complice de la voix que l’on en viendrait presque à ne plus le distinguer : la fusion des deux instruments est telle que, sans jamais s’effacer l’un l’autre, ils semblent ne faire plus qu’un. Nous sommes ici au-delà d’un piano portant une voix, pour atteindre un équilibre parfait.
Avec ce premier disque, Josefine Göhmann parvient à proposer un ambitieux projet, original et bien construit, que l’on peut apprécier sans forcément être particulièrement adepte du répertoire défendu ici.“
Elodie Martinez
PREMIÈRE LOGE OPÉRA
"… Elle fait ici entendre une voix richement timbrée sur l’ensemble de la tessiture, et manifeste par ailleurs une vraie sensibilité, une belle versatilité stylistique, … "
Stéphane Lelièvre
OPUS-HAUTE-DÉFINITION
"...Avec le soutien du pianiste Mario Häring, dont l’engagement musical est à saluer, Josefine Göhmann est l’incarnation même de toutes ces figures, et sa voix, au timbre envoutant, déploie des trésors de nuances pour chaque portrait abordé. Bref, un enregistrement tout simplement fascinant."
Jean-Jacques Millo
PIZZICATO
"...Die CD beginnt mit dem Auftragswerk ‘La Vierge de Cluny. Chant d´une femme’ für Solostimme von der philippinischen Komponistin Feliz Anne Reyes Macahis (*1987), das Josefine Göhmann leidenschaftlich involviert vorträgt.
Auch in den anderen Liedern des mehrheitlich französisch-deutschen Programms ist die Sängerin eine überzeugende Interpretin. Sie singt mit großer Sensibilität, enthüllt den dramatischen Inhalt der Lieder, ihre Emotionen, nimmt uns mit in Regionen, in denen alles Rationale kein Recht mehr hat. Josefine Göhmann, und ich glaube, das ist ihr Hauptverdienst, lässt den Hörer nicht gleichgültig.
Am Klavier wird sie engagiert und unterstützend von dem inspirierten Mario Häring begleitet."
Remy Franck
DIGITAL IN BERLIN
Interview//Portrait
FEUILLETÖNE
"... Wenn zeitgenössisches Lied, zeitgenössischer Gesang, dann von Josefine Göhmann"
Frau Eichler & Herr Martinsen
ComposHer
"Enfin un album qui mêle intelligemment des mélodies portant sur des femmes, écrites pour des femmes ou composées par des femmes sans tomber dans le cliché ! (…) le piano de Mario Häring, qui fait preuve d’une retenue empreinte de modestie, laisse la voix s’épanouir dans des aigus amples, et dans des médiums délicats et souples. (…) Josefine Göhmann est particulièrement à l’aise dans ce jeu de rôles permanent, comme dans le reste de cet album d’une admirable audace."
Clara Leonardi
BLUMENMÄDCHEN
"Kreidekreis", Alexander von Zemlinsky// Opéra National de Lyon - Januar/Februar 2018
Lothar Koenigs, Richard Brunel.
"Mais les personnages féminins s’affirment, dans les textes parlés comme dans le chant : pour le premier air, très enlevé, Josefine Göhmann s’illustre en fille-fleur (« Blumenmädchen » – chez Klabund la référence à Parsifal est évidente, Tong tenant lieu de Klingsor)."
Fabrice Malkani
"...; y especial mención para la joven Josefine Göhmann en la parte de Blumenmädchen, de raigambre wagneriana."
Guy Cherqui
"Même la boutiquière de Josefine Göhmann, qui intervient dans un très bel air particulièrement virtuose (« Alle Männern zu gefallen ») au début de l’opéra, s’en tire avec panache."
Jean-Francois Lattarico
"... et qu’on remarque avec plaisir la jeune Blumenmädchen qui intervient au début (Josefine Göhmann, du Studio de l’Opéra de Lyon)."
"Hedwig Fassbender (la sage-femme), Doris Lamprecht (la mère de Haïtang) et Josefine Göhmann (une bouquetière) étaient parfaites dans leurs rôles secondaires."
Erna Metdepenninghen
CEFISA
Ermione, Gioachino Rossini//Opéra de Lyon, Théâtre des Champs-Élysées Paris, Nov.2016
Alberto Zedda, Angela Meade, Michael Spyres, Dmitry Korchac
"Cette année fut un crû particulièrement mémorable avec une Ermione tout simplement époustouflante. (...)
Les Cleone de Rocio Perez, Cefisa de Josefine Göhmann et Attalo d’André Gass n’entachent en rien le plateau et parviennent à offrir des prestations à la hauteur des grands artistes déjà cités."
Elodie Martinez
POPPEA & DRUSILLA/VIRTÙ
L`incoronazione di Poppea, Claudio Monteverdi//Opéra National de Lyon - März/April 2017
(Opéra de Vichy, TNP/Villeurbanne, Opéra Royal de Versailles)
"Parmi ces jeunes artistes venus des quatre coins de la planète, on soulignera l´excellente impression produite par Poppée et Neron, Josefine Göhmann et Laura Zigmantaite, ..."
Laurent Bury
„... So scheint Poppea liebend, mal manipulativ, bald fragil, mitunter eroberungslustig. Fast irreal ist Josefine Göhmann ganz in Zartheit und Selbstbewusstsein einfach überwältigend. Von einer sehr ausgearbeiteten Darstellerregie profitierend bewegt sie sich wie eine sinnliche Ballerina, ihre Arme und Hände sind fortlaufend in Bewegung - mit Grazie und Verführungslust, auch wenn ihre Positionswechsel limitiert sind. In ihrem weißen Kleid, das einfach ist, ihr aber bezaubernd steht, schreibt sie bewundernswert, mit Noblesse und Maß jeden Charakterzug ihrer Heroine nieder. In Speranza, tu mi vai sind die Ornamente und Melismen flüssig und leicht, wohingegen die gehämmerten Noten im starken stile concitato die junge Frau buchstäblich in ein herrisches Sein transformieren, beinahe dämonisch. Ganz Verführerin durch die ausdrucksvollen Halbtöne in Signor, deh, non partire, ganz nach Wunsch schmachtend in den Seufzern Idolo del cor erreicht sie eine perfekte musikalische Fusion mit Laura Zigmantaite in der Rolle des Nerone (...). Das Liebesduett Non più s´interporrà noia o dimora ist von einer ungeheuren stimmlichen Schönheit. (...) Laura Zigmantaite offenbart generell ihre stimmliche Schönheit in den Duetten mit ihrer Partnerin: Das Ineinanderschlingen der zwei Sopranstimmen symbolisiert wunderbar die Umarmung der zwei Liebenden. Das berühmte Duett Pur ti miro, eines der schönsten Duette der Operngeschichte (wenn nicht das schönste!), verbreitet eine bezaubernde Musik, die einen schrecklichen Ausgang verherrlicht: Die zwei machiavellistischen Heroen feiern mit Süße das Gelingen ihrer finsteren List. (...).“,
Charlotte Saulneron-Saadou
"... Dem leuchtenden Timbre und den elegant nuancierten Inflexionen Göhmanns Gesangs wohnt der jugendliche Enthusiasmus einer eher aufrichtig liebenden als einer perversen und kalkulierenden Poppea inne. (...).",
Roland Duclos
"... Especially effective were the Nerone of Lithuanian mezzo Laura Zigmantaite and German/Chilean soprano Josefine Göhmann who were the only of Grüber's actors to realize a constant plasticity of simultaneous gestural and musical movement -- a kind of emotional puppetry. Both were consummate performers. (...).",
Michael Milenski
Auch der Bayerische Rundfunk (BR) berichtet über "L'incoronazione di Poppea" als Teil des "Festival Mémoires" der Opéra de Lyon:
"..., allen voran Josefine Göhmann und Laura Zigmantaite, ... (...).",
Robert Jungwirth
"Grüber hat einen lasziv jugendlichen, sympathischen Nero gezeigt und eine Poppea, die wirklich von inniger Liebe ergriffen ist und alles andere als nur berechnend wirkt. Das war damals schon bei Anne Sofie von Otter und Mireille Delunsch so, funktioniert aber genauso mit den jungen Sängern aus dem Lyoner Opernstudio, (...)"
"... die hervorragende Josefine Göhmann, die an diesem Abend Drusilla, Ottones Geliebte spielte: Quelle unerschöpflicher Freude."
Adrien Alix
"Meritano una segnalazione particolare la Poppea di Josefine Göhmann, il Nerone di Laura Zigmantaite, l'Ottavia di Elli Vallinoja, l'Arnalta di André Gass, il Valletto di Katherine Aitken e la Damigella di Rocío Perez."
Mauro Mariani
POPPEA
L´incoronazione di Poppea, Claudio Monteverdi//Theater Aachen - Oktober 2017
"Als Poppea erleben wir an diesem Abend (...) eine Einspringerin. Josefine Göhmann vom Lyoner Opernstudio meistert nach nur einem Tag Vorbereitung die anspruchsvolle Rolle mit beeindruckender Sicherheit."
Andreas Hauff
PALMORO
"Idalide", Luigi Cherubini//Thüringer Symphoniker - Februar/März 2019
"Josefine Göhmann hat als Palmoro - der Vater Idalides - ein ganzes Spektrum von Gefühlen zwischen erregtem Zorn, ratloser Verzweiflung und einsamer Trauer auszubreiten. Ihr hat Cherubini mit die tiefsten Momente seiner Musik gewidmet - und die Sängerin kann die emotionale Dynamik ihrer Rolle bewegend darstellen."
Werner Häußner