/ s t a g e r e v i e w s
// Hansel and Gretel
[...] Gretel adorned with curls, wonderfully fresh and full of volume sung by Maren Schwier
Bettina Boyens, June 8th, 2021, Allgemeine Zeitung
An opera whose large-scale compositional format is perhaps even more noticeable on an unmistakable June day: the Brünnhildish component of Gretel's “Kikeriki”, the relationship between witch and mime whispering. But it may also have something to do with the fact that Hermann Bäumer conducts a completely unpopular Humperdinck, a serious, broad-based one. And that Maren Schwiers Gretel has a twist in the dramatic as a soprano despite all the childlike nature and play.
Judith von Sternburg, June 7th, 2021, Frankfurter Rundschau
// Die Fledermaus (engl: The bat)
The chambermaid Adele [...] can shine charmingly as a coloratura soubrette. Maren Schwier does it brilliantly in terms of her acting and singing, so that she gets the greatest sympathy of the audience.
Dietrich Stern, October 6th, 2020, Allgemeine Zeitung
Vocally and dramatically, Maren Schwier stood out from the ensemble, as housemaid Adele, agile in the soubretten style, confident in the coloratura and heights.
Guido Holze, October 8th, 2020, FAZ
// Das Tal der Ahnen (engl: The valley of the ancestors)
The Valley of the Ancestors is also a tender, intelligent nonsense, a tribute to memories and all sorts of things that rush through your brain. But music and singing are flawless: Paul-Johannes Kirschner and Dominik Fürstberger are excellent on instruments with strange and original numbers, the baritone Brett Carter - as it were as Frank Zappa -, the tenor Johannes Meyer and the soprano Maren Schwier sing between the jokes. The professionalism that is always needed for nonsense is given.
Judith von Sternburg, June 18, 2020, Frankfurter Rundschau
// The Cold Trip - Eine Winterreise
From a brightly lit window of the theater Maren Schwier's radiant singing comes: "Some tears from my eyes have fallen into the snow". The audience looks up in the cold, standing. As if by itself, associations on the subject of longing, exclusion, homelessness are awakened that get under your skin.
Silvia Adler, 03/2020, Opernwelt
The loneliness in the "Cold Trip" is of a different kind than in the "Winterreise" - being lost in the crowd is comprehended, lustful and destructive emptiness opens up; electronic beats combine with jazz and blues to create new music. "The stormy morning" becomes "Stormy Monday". All singers convince, Maren Schwier sets highlights.
Manuel Wenda, January 15, 2020, Allgemeine Zeitung
As the only singer of the evening, Maren Schwier sang Aphrodite in an enchantingly beautiful way.
Thomas Rothkegel, May 2nd, 2018, www.swp.de
As a seductive, sensual Aphrodite with a very melusinic design, Maren Schwier not only delighted with her coloratura.
Thomas Weiss, April 30, 2018, www.echo-online.de
Even Butes does not plunge headlessly into the sea, but moves in Schwetzingen after a long period of reflection in slow motion into the ankle-deep water, where he is received by Aphrodite (with catsuit, overly long hair and crystalline soprano: Maren Schwier) with radiant singing lines .
Georg Rudiger, April 30, 2018, www.die-deutsche-buehne.de
In Schwetzingen there is long cheering, the great singers Maren Schwier, Jonathan de la Paz Zaens, Alin Deleanu, Brett Carter, Martin Busen and the fine, minimalist director Mirella Weingarten are extensively celebrated.
Reinhard Brembeck, April 29, 2018, Süddeutsche Zeitung
// Marschmanipulation (engl: March manipulation)
Without sparing themselves physically and vocally, Schwier and Brandes work out the grotesque ambiguity of the topic.
Dietrich Stern, September 5th, 2017, Allgemeine Zeitung
Brandes now unfolds this in a cabaret manner together with the opera singer Maren Schwier. Wherever she sings folk tunes or art songs unaccompanied and unprotected, he intervenes with commands. Sometimes the voices are electronically distorted and alienated, but the marching music comes out of the loudspeaker intact.
Andreas Hauff, 07.09.2017, www.nmz.de
The highlights were the sublimated, erotic percussion scene for table, bottle and glass between Maren Schwier and Ziad Nehme [...]
Doris Kösterke, June 2017, FAZ Rhein-Main
Maren Schwier and Alexandra Samouilidou are the friends of Armide [...] with cheeky charm and brilliant singing.
Karl Georg Berg, January 16, 2017, The Rhine Palatinate
Splendid batches: […] Armides helpers Phénice and Sidonie (Maren Schwier and Alexandra Samouilidou).
Hans-Klaus Jungheinrich, March 2017, Opernwelt