Arabella - Zürich

…but Astrid Kessler was a luxury substitution, an Arabella as she should be: coquettish and cold, superficial but still endearing, with a bright soprano voice and that special ability to suddenly show personal depth in the third act. (Tagesanzeiger, Susanne Kübler – 02.03.2020)

Astrid Kessler fits perfectly into this production and was able to bring much of her own interpretation along too. She possesses a clearly wielded soprano voice, bright in tone with a good foundation in the middle register, with which she can optimally handle the Strauss parlando and carry it over the orchestra. She additionally crowns the role with lyric-dramatic high tones, with which she quite decisively gives Arabella clear personality traits. (OnlineMerker, John H. Müller – 02.03.2020)

Walküre - Ludwigsburg

“Klaus Florian Vogt as a clear and charismatic Siegmund and Astrid Kessler as an uncommonly assured and vocally gleaming Sieglinde developed into a dream couple of the Wagnerian tonal language.” (Online Merker, Alexander Walther – 02.03.2019)

Nabucco – Saarbrücken

“Dynamic, iridescent and lithe, sexy, self-confident and dominant she commands the stage. Astrid Kessler acts out every nuance of this conflicted character, her voice floats dreamily in tender lyrical passages and rages in dramatic coloraturas, music and emotion form an inseparable whole in her fascinating performance.” (Konstanze Führlbeck, Rheinpfalz – 11.06.2018).

Meistersinger – Mannheim

“Excellent and marked by moving naturalism and robust diction was Astrid Kessler as Eva, her silvery tones shining over the quintet.” (Badische Neueste Nachrichten, Nikolaus Schmidt, 31.10.18)

Rosenkavalier - Mannheim

“Astrid Kessler bestows purest soprano-gold as the warm-hearted Feldmarschallin, from the night of love with Octavian in a silver-blue no-mans-land to the smiling renunciation of the finale. During the deeply-felt “time monologue” the public literally held its breath.” (Mannheimer Morgen – 21.11.2017)

Genoveva

“Astrid Kessler is not just self-sacrificing in her portrayal of Genoveva, but also in her vocal performance: passionate, emotionally-overflowing, but always under control. Sensational.” (Mannheimer Morgen – 02.05.2017)

“… standing out above all was Astrid Kessler in the emotionally complex title role, admirably expending herself without consideration of sonic prettiness.” (FAZ – 06.05.2017)

La Juive - Mannheim

“Astrid Kessler’s Rachel is spectacular; singing the highly-demanding role free and unforced, her acting agile and effortless.” (Frankfurter Rundschau – 11.01.16)

“Astrid Kessler sings the role of Rachel brilliantly. Her lyrical cantilenas make tangible the longing for a peaceful coexistance, beyond religous boundaries.” (SWR – 11.01.16)

“Kesslers highly expressive singing and presence on stage get under the skin.”
(Die deutsche Bühne, 12. Januar 2016)

“Astrid Kessler is the event of the evening on stage. Not only does she more than do justice to the role vocally, she impresses moreover with her intense acting performance, as she suffers through an emotional roller coaster as a multiply betrayed woman.”
(Opernnetz, 12. Januar 2016)

Countess Mariza - Volksoper Wien

“Astrid Kessler portrays [this heavily nicotin-craving Mariza] as a woman as hurtful as she is hurtable, who one would happily send to a session with Freud. Kessler impresses the most vocally, too: her powerful soprano can add on the decisive wattage when orchestra and choir are already at their fullest.” (DiePresse.com – 23.04.14)

“Astrid Kessler is just as on point in anger as in moments of resignation, which she profoundly ennobles vocally as well.” (Der Standard – 24.03.14)

“…while Astrid Kessler celebrated a justly acclaimed Volksoper debut as a paprika-countess far from the lost world war, tormented by impertinent advances by wannabes and royal rogues, and of course a slave of her own imperious personality. In addition to her divaesque appearance, the strong presence of her voice also impressed.” (Wiener Zeitung – 24.03.14)

Giovanna d'Arco - Bielefeld

“With her powerful, emotional voice, her acting, and a feel for the nuances of the inner dialogues, she created her Giovanna… a delicate, vulnerable girl, victim of her patriotic disposition and the foulest betrayal. An abused heroine.” (Der Opernfreund)

“With her supple, lyric soprano, still slender in its expanse, and her natural play and organic phrasing, [Astrid Kessler] creates a moving title character.” (Die deutsche Bühne – Januar 2014)

“Astrid Kessler is a precise, natural Giovanna, a powerfully radiant, fresh soprano who can also conjure moments of magical tenderness. Simply thrilling.” (Neue Westfälische – 13.10.13)