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| Théâtre de la Monnaie Bruxelles – Die Walküre - SIEGLINDE |
| Stefanoff’s Sieglinde impressed with her youthful impartiality and the lyrical qualities of her soprano voice. |
| Das Opernglas 3/2024, M. Fiedler |
| Nadja Stefanoff in the role of Sieglinde was a real discovery. She sang with clear, rhetorical diction but also with fearful intensity before Siegmund’s fall. |
WDR
wdr.de |
| Nadja Stefanoff‘s Sieglinde however makes every word comprehensible, touchingly modest, with an enticing clarity and warmth particularly in the middle register. |
| OPERNWELT 3/24 Holger Noltze |
| The pure musical part benefits from the outstanding female cast. Nadja Stefanoff’s is delicate and emphatetic... |
bachtrack
bachtrack.com |
| Rheinoper Düsseldorf-Duisburg - Die tote Stadt - MARIETTA |
| The soprano part of Marie and Marietta, which in fact does only exists in Paul’s imagination, is just as difficult. Nadja Stefanoff dances, flirts, desires, dominates, is bitchy and carefully handles the huge part with extremely high. |
Opernmagazin
www.opernmagazin.de |
| Nadja Stefanoff sings Marietta with clarion tones in the high registers and a rich spectrum of sensual values in the middle registers. |
Concerti
www.concerti.de |
| At his side plays Nadja Stefanoff, well-known from Mainz and Frankfurt. Her play is witty. Her huge, noble voice has become somewhat heavier, so she has a little more difficulties in the peaks. But it all works out quite wonderful. |
Frankfurter Rundschau
www.fr.de |
| The attractive Nadja Stefanoff gives a spectacular and seducing portrayal of Marietta : an impressive lady, vivid, intense, with personality and esprit. Vocally, she reaches her exquisite sovereignty in the second act, finding clear lines and clarifying the character in all its facets. Her voice sounds wonderfully natural, reaches true brilliance and lightness. Her high notes enchant by their sensuality and blaze. |
ioco
www.ioco.de |
| Staatstheater Mainz - Manon Lescaut - MANON LESCAUT |
| The title role was splendidly performed by Nadia Stefanoff (soprano). Manon is faithless and constantly alternatig between 2 men. Her adaptability from a catholic monastic life, into a schoolgirl in stockings and finally into a party girl is also vocally expressed. Yet her voice always has the upper hand over the orchestra. |
| Der neue Merker 03/2020, Volker Funk |
| Nadja Stefanoff masterly portrays the role of Manon with all its facets and acts ardently. Her gentle bows and her interpretation of the lieder-like melodies in the first two acts were just as convincing as her appearance in the second part of the evening, where she approaches the verismo with total physical dedication and heart-warming singing, striking the very core of one’s heart. She proved to be a brilliant artist, not only acoustically but also as an actress. |
Der Opernfreund
www.deropernfreund.de |
| Staatstheater Mainz - Armide - ARMIDE |
| Nadja Stefanoff is a godsend for the role of Armide. Expressively and with secure high notes, she interprets this part, that is in no way easy. |
Opern Loderer
www.opernloderer.blogspot.com |
| Nadja Stefanoff’s portrayal is sensationally impressive – her powerful voice goes up to an exquisite line, grows according to the developing of the drama until the very end, where she offers a concentrated, expressive interpretation. Even in the recitatives she achieves highly dramatic moments. |
| Opernwelt 3/2017 |
| The phenomenal actress in the title part, the soprano Nadja Stefanoff is a powerful mainstay for Steier’s production, in this story which is streamlined on clear outlining. The more so as Stefanoff’s dramatically perfect performance on stage excellently goes with her outstanding vocal presentation. Performing darkly but never flatly, passionately but never superficially, she sensitively illuminates portrays the character of the unanswered lover, always remaining splendid and technically sovereign. A real godsend for any theatre to have such an artist in the ensemble! |
Rhein-Zeitung
www.rhein-zeitung.de |
| Staatstheater Braunschweig - Anna Karenina - ANNA KARENINA |
| The success of the evening crucially depends on the two main characters: with initially passionate, then more and more desperate dedication, Nadja Stefanoff throws herself into the emotional conflicts of the title part, which she convincingly portrays with intense acting engagement and an assertive voice. |
| Das Opernglas/April 2014 |
| And in spite of the ambivalence of the musical language, this curio at the Braunschweig Theatre developed a captivating effect, mainly due to the protagonists: Nadja Stefanoff as Anna Karenina has a fantastic stage presence and expression of great dramatic quality, … Her dark timbred, smooth soprano voice captivated by her relaxed, agile voice leading and her precise intonation. |
| Opernwelt - Uwe Schweikert |
| With Nadja Stefanoff as Anna the role is ideally casted. Her dark timbre perfectly suits the brooding fundamental attitude of the character and its manifold dynamic differentiations Her soprano voice has great dramatic reserves and clearly focused high peaks, which melt into melodious passion. |
| Die deutsche Bühne – Andreas Berger |
| All the soloists mastered their difficult and power-taking parts – above all the soprano Nadja Stefanoff in the title role with her brilliant soprano voice, which was securely guided, also in the high registers. |
Cellsche Zeitung
www.cellesche-zeitung.de |
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