/ s t a g e r e v i e w s
// Die Eroberung von Mexico (Engl: the conquest of mexico)
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The role of Maren Schwier as a very high soprano is also outstanding, which vocally brilliantly leads the ears to the edge of the bearable (up to a three-line g).
Nina Wassmund, January 30, 2023, Allgemeine Zeitung Mainz
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One of the special moments of happiness in the performance is when the extreme, precisely intoned heights in the soprano voice of Maren Schwier, who plays one of Montezuma's guardians, find their resonance in the orchestra.
Doris Kösterke, January 30, 2023, FAZ
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Cortez and Montezuma each had two vocal satellites – on the one hand masculinity transformed into a hyena-like demi-human (very good Falko Hönisch and Frederic Mörth), on the other hand two female singers who articulated the world of the spherical with their vocal lises, but also that of the scream (great Maren Schwier and Karina Repova).
Bernhard Uske, January 30, 2023, Frankfurter Rundschau
// eight songs for a mad king / miss Donnithorne's maggot
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Now the soprano Maren Schwier is a young singer-actress who captivates the audience with her charisma: In the direction of Stefanie Hiltl, the soprano combines extreme physical play with an enchanting vocal line.
Volker Milch, July 5, .2023, Allgemeine Zeitung Mainz
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The role of Miss Donnithorne is also a vocal tour de force, spanning three octaves, but is more operatic than the role of the King. Maren Schwier manages, following the director's concept, not to show her Donnithorne as a babbling, hysterical old woman, but as a multiply split personality, whose traumata lie deeper than that of an abandoned bride. How she slips into all roles, sings the most impossible tones in the most impossible positions and whirls across the stage is totally crazy. This sounds particularly beautiful at the end of the piece, when, in a kind of farewell moment, French opera from the turn of the century is musically evoked.
Bernd Zegowitz, July 3, 2023, Die Deutsche Bühne
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The only thing that is certain is that Maren Schwier obviously had a lot of fun embodying this crazy woman with the means of her astonishing vocal possibilities. mad applause.
Doris Kösterke, July 6, 2023, F.A.Z.
// Die Eroberung von Mexico (Engl: the conquest of mexico)
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The role of Maren Schwier as a very high soprano is also outstanding, which vocally brilliantly leads the ears to the edge of the bearable (up to a three-line g).
Nina Wassmund, January 30, 2023, Allgemeine Zeitung Mainz
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One of the special moments of happiness in the performance is when the extreme, precisely intoned heights in the soprano voice of Maren Schwier, who plays one of Montezuma's guardians, find their resonance in the orchestra.
Doris Kösterke, January 30, 2023, FAZ
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Cortez and Montezuma each had two vocal satellites – on the one hand masculinity transformed into a hyena-like demi-human (very good Falko Hönisch and Frederic Mörth), on the other hand two female singers who articulated the world of the spherical with their vocal lises, but also that of the scream (great Maren Schwier and Karina Repova).
Bernhard Uske, January 30, 2023, Frankfurter Rundschau
// Peter Pan
Maren Schwier as Wendy is a great discovery as a singer-actress with a noticeable weaknessfor the contemporary.
Ulrike Kolter, December 18, 2022, Die Deutsche Bühne
// Radio Star
Schwier immediately casts a spell over the room: as performer and singer. Her interpretations are penetrating, powerful and cheerful [...].
Manuel Wenda, May 21, 2022, Allgemeine Zeitung
// Gudrun's song
Maren Schwier, who stepped in at short notice, also acts with an enthralling presence.
Silvia Adler, Opernwelt 06/2022
// al gran sole carico d'amore
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Mastering the vocally very demanding soprano parts with numerous, quite breakneck interval jumps Marie-Christine Haase, Alexandra Samouilidou, Maren Schwier and Linda Sommerhage with remarkable vocal flexibility, high security and the necessary punch.
Lars-Erik Gerth, Das Opernglas 06/2022
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Marie-Christine Haase, Alexandra Samouilidou, Maren Schwier and Linda Sommerhage embody these soprano parts, which soar to the highest vocal register, with dizzying perfection.
Uwe Schweikert, Opernwelt 05/2022
In "Al gran sole..." a quartet of female voices ultimately carries the entire construct of the score with commentary, invocation, protest, reflection and devotion. And this foundation was wonderful in Mainz. Marie-Christine Haase, Alexandra Samouilidou, Maren Schwier and Linda Sommerhage mastered the spherical and seraphic vocalises, floating and standing in the highest register, in combination with the scenic tasks assigned to them .
Bernhard Uske, March 13, 2022, Frankfurter Rundschau
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However, as a musical revolutionary, Nono remains committed to the beauty of the vocal line and has entrusted the central female figures to four soprano voices (which were excellently cast in Mainz).
Volker Milch, March 14, 2022, Allgemeine Zeitung
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Of the four main soprano roles, three are permanently committed to the house, Alexandra Samouilidou, Maren Schwier and Linda Sommerhage, joined by Marie-Christine Haase, all fantastic and effective in the otherworldly sounds they had to sing.
Friedrich Spangemacher, March 18, 2022, Opus culture magazine
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// Fisches Nachtgesang (engl: Fish's nightsong)
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Who is Lady Dada? Maren Schwier is Lady Dada. The young singer from the Mainz opera ensemble probably got her nickname at the latest after her fast-paced performance of Kurt Schwitters' "Ursonate" at the premiere of the program "Schöne Welt, du gingst in Fransen" in the newly opened Kakadu Bar of the Mainz State Theater. And it is precisely this number that can now be heard and seen again - as the highlight of a one-hour Dadaism evening, which she put on at the same location together with her colleague Denis Larisch from the acting ensemble. Once again we can admire the performance by heart, the skilful transitions between nuanced speaking, chanting and individual sung tones, the diverse nuances of expression between obvious joke and apparent seriousness, the flexible facial expressions and the dosed use of gestures. Also this time she is decked out like one of Oskar Schlemmer's abstract stage characters.
Andreas Hauff, March 22, 2022, Der neue Merker
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Schwier and Larisch buzz through the room, sparks fly, a lot comes together: countless weird images and scenes are conjured up, playing with syllables is onomatopoeic – Schwier and Larisch shape their performance with precision. The singer convinces primarily with her vocal interludes: "O, how good is it for me in the evening" she breaks it down into its individual parts. Larisch's facial expressions are stoic and effective.
Manuel Wenda, December 3, 2021, Allgemeine Zeitung
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// schöne welt, du gingst in fransen (engl: beautiful world, you went in fringes)
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The soprano Maren Schwier in a costume that wonderfully satirizes Oskar Schlemmer's "Triadic Ballet" delivers an "Ursonate" that its creator Kurt Schwitters would have been jealous of.
Eva-Maria Magel, September 23rd, 2021, FAZ
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Maren Schwier performs Kurt Schwitters' "Ursonate" in imposing perfection - "Urgeil", to use the words of the fringe-heavy 20s clan on stage.
Maike Hessedenz, September 24th, 2021, Allgemeine Zeitung
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// 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 18th, 2020, Frankfurter Rundschau
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// 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 15th, 2020, Allgemeine Zeitung
Deutschlandfunk - Kultur heute (January 12th, 2020): "The Cold Trip" by Bernhard Lang as Hörtheater in Mainz [AUDIO]
// ARGO
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 30th, 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 30th, 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 29th, 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, September 07th, 2017, www.nmz.de
// Tamáss
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
// Armide
Maren Schwier and Alexandra Samouilidou are the friends of Armide [...] with cheeky charm and brilliant singing.
Karl Georg Berg, January 16th, 2017, The Rhine Palatinate
Splendid batches: […] Armides helpers Phénice and Sidonie (Maren Schwier and Alexandra Samouilidou).
Hans-Klaus Jungheinrich, 03/2017, Opernwelt