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"The damned and the saved" (UA Münchener Biennale, 15.05.2022) 


“An uncontrollable power emanates from these women, who behave like wild animals, backed into the last corner of themselves, imprisoned in what Pat To Yan's libretto calls ‘a hell without end’ (...) The performers are superb throughout. How they embody pain is particularly impressive. And the staging by director Sandra Strunz and choreographer Ted Stoffer demands just about everything from them, not only their vocal talents but also their acrobatic abilities, and lots and lots of sweat.”  

(BR Klassik, 06.05.2022)

"Centre stage are two women, each portrayed by both a singer and an actress, maltreated and tortured in the dungeons of the system – the first scene features one of the best depictions of political violence ever seen on the operatic stage."

(Süddeutsche Zeitung, 16.05.2022)

“Two singers (vocally as well as performatively superb, Johanna Greulich und Eva Resch) double the two protagonists as echoes of Dana’s and Sara’s states of mind”  

(nmz, 16.05.2022)

“Soirée gothique” 


“In Eva Resch, one finds a soloist capable of lending tremendous vitality to this music. A virtuosic, multi-faceted vocalist, the soprano shifts between chaos and excitement, sighing and yearning, obsession and intimacy (…) It is in the most incendiary passages in Dündar's ‘Soiree’ in which Resch succeeds most impressively. But the seductive, iridescent moments too sound like the mythical song of the sirens (…) A brilliant performance (…)”

(Opernwelt, March 2021)




“It almost feels like you could reach out and grasp the tension with both hands as [Resch], together with her piano accompanist Eric Schneider, convey what it is like to feel eternally lost, to be driven out, the beautiful memories and, at the same time, in the present, the sheer hopelessness of the lonely wanderer, in soundscapes that could hardly be intensified any further. This is magnificent (...) Resch, who knows, with great sensitivity, how to switch between dramatic expression and lyrical tenderness, has a powerful effect with every single note, with every urgently voiced feeling and her expressivity wholly authentic.”

(Bremer Nachrichten, 13th February 2019) 

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“With Eva Resch, Schneider has found the ideal interpreter for his six short pieces, composed ‘for voice alone’, and the soprano was able to thoroughly savour all the variations and facets of the modern miniatures – to the palpable delight of the audience. At times almost meditative, at other times fast paced and expressive, then with stirring vocal acrobatics with gestures and facial expressions at the height of her evocative powers, she captures precisely what the Würzburg composer envisioned for his pieces, so much so that, at the end of the comically naturalistic final scene "Fliege", an applause broke out worthy of any rock concert...”

(Mainpost, …) 




“Energetically supported by Schneider, Resch sculpts the songs as if with a fine chisel, combining intensity with interpretive precision."

(Fono Forum, August 2019) 


“Her colourful soprano voice, in which the value of every note is strongly differentiated, possesses a roughened timbre that - grounded in excellent textual interpretation - combines tenderness with avant-garde coolness (...) And through all this, Eva Resch is able to rely on an excellent pianist.”

(Opernwelt, August 2019)


“The young, extremely gifted soprano devotes herself to the sultry material, set to music by Webern, Ullmann, Schönberg and Schreker. Rapturous!”

(Die Deutsche Bühne, December 2019)


"Both are ideally matched, always managing to hit upon a unique sound for each and every piece. A huge success."

(Ihr Opernratgeber, June 2019)


“... her enunciation is excellent; she is expressive with words and she can sing wonderful pianissimos. Eric Schneider takes care of the intricate piano parts with great confidence.”

(Music Web International, August 2019)


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