Reviews

"Siphiwe McKenzie Edelmann sang an expressive Gilda, without a single discordant note. The duet with the Duke in the second act was a pure joy." (Der Neue Merker, August 2009

"The picture-pretty Canadian singer, wife of Paul Armin Edelmann, has many shades of vocal colour to offer in the role of Gilda. Overall, hers was the most notable singing of this repertory performance -- reminding me personally of Anna Moffo as Gilda -- and achieved its peak in the soaring optional E-flat of the dramatic Revenge duet." (Der Neue Merker, August 2009

"Canadian Soprano Siphiwe McKenzie Edelmann is ideally cast as Gilda."

(Wolfgang Stern, Drehpunktkultur Salzburg, August 11, 2009)

“To do this piece you need good singers, and Nürnberg has one for its Lucia -- the singing actress, the fantastic Siphiwe McKenzie. With solid vocal technique she mastered the most difficult coloratura and ornaments. In every phrasing she showed the youthful joy, the not-to-be-overcome pain and anguish, and the extreme emotions and feelings necessary to portray this central and most important role in operatic literature. What a joy it was to experience this wonderful occasion and witness the breakthrough of a young artist. Ovations not only after the famous 'mad scene', but also for the other participants and conductor Axel Kober.” (Opernwelt, July 2005)

“Since Saturday’s premiere of Lucia di Lammermoor, the mad scene has one concrete name: Siphiwe McKenzie. With wild but tender decisiveness, stunning musical expression, dramatic consequence and knife sharp exploding coloratura raised this Soprano to the first rank of artists at the Nürnberg State Opera. Ten minutes of this premier was spent on ovations from the amazed public for the stunning portrayal and singing of the dignified Canadian artist.” (Nürnberger Nachrichten, July 2005)

(On singing Venus, Amor and the first Siren in King Arthur / Purcell): "Concerning the singing, the ladies are the winners, especially Siphiwe McKenzie who, through her voice, diction stylistics and musicality, lets you feel the eloquence of the music." (Fränkischer Tag, February 2004 [Nürnberg production in Erlangen], Monika Beer)

(on Siphiwe singing Adina in L'elisir D'amore / Donizetti:) "Soprano Siphiwe McKenzie was the star of this production" (Helmut Müller, Bietigheimer Zeitung, April 2004: Nürnberg production in Ludwigsburg)

(On Siphiwe singing Adina in L'elisir D'amore / Donizetti:) "Siphiwe McKenzie puts together the notes of her Cavatina like pearls on a string, and allows the coloratura of her Cabaletta to overflow like a fountain." (Dietholf Zerweck, Ludwigsburger Kreiszeitung, April 2004: Nürnberg production in Ludwigsburg)

(The Fall of the House of Usher / Philip Glass: Singapore, Nürnberg production for the Singapore Arts Festival:) "McKenzie's ethereal voice soared to all parts of the theatre." (Clara Chow, The Straits Times, June 2003)

(The Fall of the House of Usher / Philip Glass:) "The opera was given the full musical treatment ... with dazzling vocal contributions by Siphiwe McKenzie, a soprano of crystalline purity, as Roderick's sister Madeline." (Opera News, June 2001)

(On singing Musetta in La Boheme / Puccini:) "As Musetta, Siphiwe McKenzie crowned the production with her wonderful stage presence and her sparkling and charismatic soprano voice." (Thomas Heinhold, Nürnberger Zeitung, October 2000)