Fanciulla del West / Puccini / The Royal Opera Copenhagen / 11. november 2017.

The Danish Soprano is shining throughout the evening! As Minnie, with the gun in the back pocket, Ann Petersen steered throughout the whole evening as a true Heroine. Her voice and physics are perfect for the demanding main part as Minnie in this Puccini Opera.

Politiken11. november 2017


Tristan und Isolde / Opera de Lyon / 21 march 2017.

  • Ich bewundere, wie großartig Ann Petersen die monströse Partie bewältigt, mit leicht kehligem Timbre und jungen, schlanken Höhen, trotz des nötigen Wumms in der Stimme,- und wie sie
    inständig versucht, nicht Waltraud Meier zu spielen, sondern Isolde.

    Die Zeit23. März 2017

  • Ann Petersen is a remarkable Isolde, with subtle shudder, with a superb projection and capable also a wonderful piani, communicating an intense emotion throughout the work until its last
    apparition in Liebestod.

    Forumopera21. march 2017

The danish soprano Ann Petersen is already in the great tradition of the singers, who have sung the part as Isolde during the last few decades. The strenghts of the voice is considerable: richness of timbre, flexibility of the line, not to mention an impressive vocal power. Never altering the continuity of the phrase to approach a particularly difficult note, it evolves with incredible ease in this murderous tessitura, never saving itself to reach the Liebestod with a freshness, legato and radiation intact.

Opera-online France21. march 2017


Salome / The Royal Opera / Copenhagen / 19 april 2016.

  • Ann Petersen is a wonderful Salome, who can sing the demanding part without any problems, as R. Strauss demands.

    Politiken19. april 2016

  • With glittering voice on each tone, Marilyn Monroe-wig and purposeful body language, the soprano Ann Petersen lifts the Salome character to cosmic heights.

    Jyllandsposten19. april 2016


Tristan und Isolde / Megaron / Athen / January 2015.

Ann Petersen as Isolde, – a true discovery! Nuanced, lyrical, but still with ability to the big moving dramatic outbursts, that never slipped from her, she created an oppressive and multifaceted character study. Particularly text course, came the highly dramatic story of Morolds death and the oath of vengeance, and also a wonderful “Liebestod” at the end, even after a long lasting performance.

Das Opernglas28 january 2015


Tannhäuser / Conducted by Daniel Barenboim / Staatsoper / Berlin / April 2015.

Tannhäuser, Conducted by Daniel Barenboim, Staatsoper Berlin, april 2015. Ann Petersen offered a beautifully sung, properly human Elisabeth; we seem, let us be thankful, to have moved decisively away from the days of the blandly virginal. Moreover, her way with Wagners words delved for deeper than anything we saw on stage.

The Boulezian5 april 2015


Die Frau ohne Schatten / The Royal Opera / Copenhagen / September 2015.

Ann Petersen is the Empress in Die Frau ohne Schatten. Ethereal, melancholy and obliging, and with a delicate appearance and sparkling singing.

Weekend Avisen11. september 2015


Tannhäuser / Conducted by Daniel Barenboim / Staatsoper Berlin / April 2014.

Ann Petersen as the virginal Elisabeth, splendid in an Ava Gardner- style satin gown, showed the intelligence and strong- mindedness of a role that can seem merely prudish.

The Observer19. april 2014


  • We first see Ann Petersen’s Elisabeth as a Grace Kelly lookalike, in a white ball gown, against a background of golden-lit poles. The singing is superlative. Complements for Petersen’s lyrical Elisabeth.

    Sunday Express20. april 2014

  • Ann Petersen as Elisabeth, knows how to touch. She acts with great passion and sings with a wealth of nuances.

    Berliner Morgenpost14. april 2014


  • The most touching moments are provided by the Dane, Ann Petersen, with her warm soprano, as the loving and desperate Elisabeth.

    Badische Zeitung / Dresdner Neueste Nachrichten14./15. april 2014

  • Ann Petersen as Elisabeth, looks like a blond Grace Kelly beauty, and she lures with angelic tones.

    Der Standard23. april 2014


  • The pretty Danish soprano Ann Petersen, fits the type forth in this role, and makes the conflict between the Purity Pray and the adults longing for pleasurable love theatrically very clear. Her soprano is floating and brings delicate and emotive piani tones.

    Online Merker16. april 2014

  • Ann Petersen shines in her first appearance- aria “Dich teure Halle”, with radiant Soprano, who has also in the hights above, a wide understanding of the text.

    Online Musik Magazin17. april 2014


Otello / The Royal Opera / Copenhagen / September 2013.

  • The Soprano Ann Petersen is Desdemona. Extremely beautiful in her white dress and with a voice, which should be able to lay all the shadows of the devil down. It is her first part at the Royal Opera in the ensemble, at a point where she is unsurpassed at the worldstage as Wagner’s Isolde.

    Weekendavisen27. sep. 2013

  • Ann Petersen is filling out the part as Desdemona with her glittering silver voice and bodily primitive force. Right now the name Ann Petersen is on everybody’s lips. As well as here in Denmark she sings the big Wagner parts abroad, but also the poesi and drama of Verdi lies ideal for her lyric voice and expressive appearance.


These years the big Operahouses in Europe are asking for Ann Petersen, because of her effortless talent for singing the heavy dramatically parts by Wagner. Now she is a touching and beautiful Desdemona by Verdi. The director’s idea of placing this passive woman in the front of the scene at the very beginning of the opera, which makes her the main person of the tragedie, is difficult to explain, but nevertheless it works in this staging, because the audience then at once becomes aware of this unusual singer, who captures the stage in the last act with her international class and with the lightness and strength of her voice. On bare feet she took the audience with storm and got the deserved applause.

Politiken23. sep.2013

Wagner Gala / DR Koncerthuset / Copenhagen / 5. september 2013

  • It was soprano Ann Petersen, who was the sensational item […] Ann Petersen stood on a podium behind the orchestra and was brilliant looking and also sang with great wing span […] Ann Petersen again stood on the withdrawn podium, now in a new robe as Brynhilde, and manifested the great final scene […] Ann Petersen possess what it takes to triumph in such a party. Her declamation is sovereign, the sound is solid and egal, she has brawn, she has in her height a visual authority, and finally Ann Petersen radiates a spiritual peace in the unfolding of her art of singing, as the old champion up in his heaven must welcome. In this way, he perhaps got one of his best birthday gifts.

    Valdemar Lønsted / Information

  • At the back of the stage the Danish soprano Ann Petersen rised in her apple green gala dress. The tall woman sang with a bright, silvery voice her declaration of love to the dying Tristan and her own happy farewell with the earthly world of “Isolde Liebestod “. Ann Petersen is specialized in the great Wagner solo passages. She is touring at the world’s great opera houses and sings regularly in Denmark too. Last Summer she gave star lustre to “Tristan and Isolde” at the Danish National Opera”.

    Christine Christiansen / JP

With the world soprano Ann Petersen as the luminous center of the evening, DR gave Wagner that format of a birthday party which the great opera master deserves […] DR had secured one of the leading Wagner sopranos in these years, Ann Petersen,as a soloist. High above on her podium behind the orchestra, she sang the final scene from ‘Tristan and Isolde’, so the clear balanced light in her voice reached out to everyone in the approximate sold-out hall.Together with Swedish Nina Stemme the female Dane is the one the opera houses are asking for right now for their dramatic Wagner repertoire,and not just Isolde’s ‘Liebestod’ but also with Brünnhilde’s demanding removal of ‘Götterdämmerung’ the soprano in her burning red dress gave the audience further experience with its sovereign controlled, stylish Wagner art…Ann Petersen is built to sing this music, and she is in a brilliant shape. Wise enough not to overexpose.Not even when she with fire flaming at the top of the course was millimeters from being drowned in violent euphony.

Thomas Michelsen / Politiken7. sep. 2013


Lohengrin / La Scala / Conducted by Daniel Barenboim / December 2012

Ann Petersen, a Danish soprano filling in for an ailing Anja Harteros, was floating with lovely phrases in her Second-act song to the air, “Euch lüften”, and singing with warmth and intensity in the fateful scene with Lohengrin (song by Jonas Kaufmann).

Mike Silverman2012


Tristan und Isolde / Danish National Opera / 2012

  • We experience the inextinguishable throughout the performance live in the soprano Ann Petersen’s sublime flaming Isolde. Dazzling smiling in the death of disdain and thirst, she lifts with her splendour voice the Irish princess from the hatefulness in the 1 act through the 2 act’s big lovescene until she ends the 3 act in pulverizing harmony.

    Weekendavisen24. aug. 2012

  • Our own Ann Petersen was the greatest surprise of the evening. She has already sung the part as Isolde abroad and with big success. Who has ever truly heard the meeting with Tristan in the 1 act being sung more pure, and have you ever cried so realistic during the famous “Liebestod”? This was Ann Petersen as Isolde.”

    Berlingske22. aug. 2012

  • Ann Petersen was the magnetic centre among the singers. She was impressive and was carrying the audience away by her control of the Isolde figure. Ann P. is able to move on the stage, tell a story, argue and command as a master singer in her authoritative speech of art, and she manage to hold all the big emotions of the drama with a nearly incomprehensible credibility. The last 8 minutes of the opera, “Liebestod”, is still vibrating in the heart many hours later.

    Information21. aug. 2012

  • Ann Petersen is a worldclass Isolde. Nuances, precision, strenght and lightness. The voice had it all, and after nearly 5 hours opera it was a “Liebestod”, one of the biggest, the dramatic soprano was giving us, while she was leaning over the body of Tristan. Singing Isolde is the same as driving 3 laps of Tour de France in a row on the same day, but Ann Petersen has the energy and strenghts it requires.

    Politiken21. aug. 2012


Tristan und Isolde / Millenium Centre / Cardiff / May 2012

Generally speaking the music reaches the standards set by WNO at ist best. Danish soprano Ann Pedersen is the production’s star by some margin and with an already established profile in Wagner and Strauss, she seems set for an enduring and distinguished career. Hers is not a full-blown dramatic soprano voice: she sings a mix of lyric and dramatic roles and it will be interesting to watch the choices she makes in the future, but there is an easy flexibility to her sound throughout
ist whole compass that adds enormously to the intrinsic beauty of her singing. She acts well too and provided a fine foil to Ben Heppner throughout the whole performance.

Lyn Kenny / seenandheard-international.com22. may. 2012

  • The Danish soprano, Ann Pedersen, with her long auburn tresses, looks and sounds like a young woman lost in love – not, for once, like a diva. Her voice rings out ripe and effortlessly: she shapes her character and her fate in sentient detail, carries Heppner with her in duet, and unleashes her Liebestod with total freedom and wonderful instinct.

    Hilary Finch / The Times22. may. 2012

  • The Danish soprano, Ann Pedersen, with her long auburn tresses, looks and sounds like a young woman lost in love – not, for once, like a diva. Her voice rings out ripe and effortlessly: she shapes her character and her fate in sentient detail, carries Heppner with her in duet, and unleashes her Liebestod with total freedom and wonderful instinct.

    Hugo Shirley / Telegraph21. may. 2012


Die Frau ohne Schatten  / The Royal Opera / Copenhagen 2012

What do we hear and see? An opera artist with an aura and charisma as a walking angel. A shining softness, natural calm, endowed with a voice, which carries over land as was it nodes from the Swans of the fairytale poet H.C. Andersen, with a placement of high nodes delivered so effortless as needles on a map, a high D up there on the scale where only Gods and the chosen people are allowed to travel. But Ann Petersen is just letting this high D shine from the peak! What a debut!

GregersDH / Blog Archive2012

Tristan und Isolde  / Welsh National Opera/ 2012

When the curtain does go up, […], we’re treated to half an hour of some of the most beautiful Wagner singing I can remember, […]. Ann Petersen is immediately perfection as Isolde, and mostly she stays that way. Hers is a lighter, more lyrical voice than the conventional Wagner soprano, and she floats Isolde’s lines as if they were Schubert, lovely and effortless, though with ample power when needed, hardly ever sounding forced.
One might sit back, shut one’s eyes and simply listen. But one would miss a great deal, because this is a Wagnerian who can act, with presence and total engagement, and she even looks the part. When Brangaene enquires: “Who could see Isolde and not die happy?” for once one doesn’t wince at the irony. Above all, Petersen knows how to carry her looks into the role; her Isolde is a creature who loves and who one can imagine loving, something that in this work usually has to be supplied by the imagination.

Tristan und Isolde / Lyon / Conducted by Kirill Petrenko/ 2011

  • Ann Petersen beeindruckt mit einem von Beginn an engagierten Auftritt als betrogene Irenkönigin, den sie mit ihrem ausdrucksstarken, jugendlich dramatischen Sopran bei guter Phrasierung und emphatischer Mimik untermauert. Ihre Höhen kommen kräftig, ohne heldisch zu klingen. Sie ist eine junge, fast forsche, jedenfalls intensiv erlebende Isolde, die auch am Ende noch stimmliche Reserven hat, um einen berührenden Liebestod zu singen.

    Der Neue Merker17. june. 2011

  • Ann Petersen als Isolde liegt mit ihrem glasigen, später hell kristallinen Sopran perfekt auf der lichttherapeutischen Wellenlänge Petrenkos.

    Die Welt9. june. 2011

  • Ann Petersen’s first Isolde is youthful and fresh but every bit the spurned princess. There is no edge to her voice, no shrieking for effect, simply gorgeous singing throughout. A revelation!

    Financial Times7. june. 2012

  • L’Isolde d’Ann Petersen est, au contraire, une prise de rôle. La jeune soprano danoise ( qui fut la Freia de L’Or du Rhin a l’Opera Bastille en 2010) s’y révéle d’emblée étonnante de natural, avec sa silhouette de belle grande femme à Karita Mattila et ses cheveux coupés courts à la Waltraud Meier. Phrasé souple, ductilité coloriste de la voix, facilité de projection sur toute la tessiture, indéniable presence scénique, la Danoise a tout pour etre l’une des grandes Isolde de demain. La scéne finale ( le fameux Liebestod ou Mort d’Isolde), particulierement sensuelle et incarnée, tranche avec l’habituel et élégiaque chant d’extase de cette “mort d’amour” mystique et pacifiée.

    Le Monde7. june. 2011


Die tote Stadt / Danish National Opera / 2010

  • Ann Petersen´s Marietta is tremendous melodious safe and effortless,-almost sumptuous.

    Weekendavisen20. aug. 2010

  • Nevertheless, – the queen of the night is Ann Petersen in the role as Marietta! She sings better and better for every minute. The red hair looks better for every minute. Does she sometimes act a little too beautiful, or maybe not enough decadent? Only until she gathers the gentlemen around her sofa…exactly like that was the art in the time of the expressionism, and then, when her face is transmitted onto half of the wall in the background, then…first you maybe think ”oh no, how vulgar can it be!” But her light vibrating eyelids conquer everything!

    Berlingske Tidende20. aug. 2010

Ann Petersen, with her Wagnerian-Soprano, made her debút as Marietta very beautiful. Ann P. has to dance erotically, show her long naked wriggled legs, as well as, which is the most difficult thing, sing a varied and vocally very demanding role. But although the tall woman is not a dancer, she manages to carry the performance totally right to the very end,…and the song of Marietta in the first act was beautiful, drown out in the most candy like sound in co-operating with the experienced conductor!

Politiken20. aug. 2010


Fidelio “1805” / Komische Oper Berlin / 2010

  • Den Fidelio singt Ann Petersen auf den dramatischen Höhepunkten der Partie sehr gut: Eine Sopranistin mit Herz und Stimme.

    Beliner Morgenpost2010

  • Wie ein Geist der vergangenheit aus der gerade abzuwickelnden Theater- und Ideenwelt erscheint Fidelio/ Leonore, bravourös gesungen von Ann Petersen.

    Märkische Oderzeitung2010


Adriadne auf Naxos  / The Royal Opera/ Copenhagen / 2009

Ann Petersen as the Prima donna of the cast is a strong card. Her many facetted dramatic soprano is ranking among the best in the world.



Der Rosenkavalier / Graz / 2009

  • Die meisten Schlussapplaus erhielt jedoch Ann Petersen als Feldmarschallin. Von Anbeginn leicht resignierend zeichnet sie ein faszinierendes Porträt dieser grossartigen und weisen Frau und zieht das Publikum so in den Bann, dass während ihrer Monologe im ersten Akt kein Muckser zu vernehmen ist, mühelos überstrahlt sie das Orchester, und setzt einen wunderbar modulierten Pianoton auf “da drin ist die silberne Rose”. Mit dementsprechender Autorität weisst Sie im dritten Akt den Ocks in seine Schranken und führt souverän das finale Terzett an, grandios.

    Gundl. at.2009

  • Ann petersen ist eine anbetungswürdige Marschallin im Besitz aller stimmlichen und darstellerischen Ausdrucksmittel, eine Meisterin der Nuancen und Zwischentöne mit einem piano, das Steine zum Schmelzen bringen könnte. Ihr grosser Zeitmonolog im 1. Akt ist der Höhepunkt des Abends.


The Rosenkavalier / The Royal Opera/ Copenhagen / 2008

Ann Petersen sings the Marschallin with a restrained purity, the like of which I have never heard before! Instead of turning up the effect, she almost turns it down; but still she transmits to us with such clarity and purity, when she sings about this creature of that age. A wild, but beautiful under acting of the climax of the opera! The peak in this production of the Rosenkavalier is the Marschallin’s monolog in the first act about the times, sung by Ann Petersen. An outstanding and sensibly strong Marschallin!

Information8. sep. 2012

Lohengrin / The Royal Opera/ Copenhagen / 2007

First of all, we have in Ann Petersen got a new strong female Wagner-singer in DK. Congratulations to all of us! She is able in her acting to perform a convincing change from girl to woman with flowing hair and sexy nightdress, and you are just sold, when Ann P. starts to let go as erotic Elsa. Ann P. sings and plays it all through with strength and power and convincing gesture.

Berlingske Tidende16. jan. 2007