Reviews

“What a beautiful colourful and expressive soprano voice. What a wealth of phrasing and dynamic shading, what a moving interpretation!” (Was für ein schöner, modulationsreicher, ausdrucksvoller Sopran, welch ein Reichtum in Phrasierung und dynamischen Schattierungen, was für eine zu Herzen gehende Gestaltung! ) Reviewed by Klaus Kalchschmid, ARD 2009 International Music Competition, Suddeutsche Zeitung, 14 September, 2009. This maturity was also revealed by Anita Watson, who’s soprano voice possesses an overwhelming beautiful, shimmering timbre which is technically as well as musically capable of anything . The Australian sang Floyd’s "Susannah" as well as Charpentier’s "Louise", and Weber’s Agathe with wonderful flexibility and beauty of sound, excellently accompanied by the Munich Radio Orchestra under John Fiore. (Diese Reife offenbarte auch Anita Watson, deren Sopran ein überwältigend schönes, schillerndes Timbre besitzt und technisch wie musikalisch zu allem fähig ist. Die Australierin sang Floyds "Susannah" wie Charpentiers "Louise" und Webers Agathe mit wunderbarer Flexibilität und Klangschönheit, exzellent begleitet vom Münchner Rundfunkorchester unter John Fiore). Reviewed by Klaus Kalchschmid, Suddeutsche Zeitung, 11 September, 2009. “Where Miss Watson stands out is that she unifies expression, soul, vocal sound and vocal culture. She is still young, very talented and above all she was a unit that exhilarated your soul” ("Frau Watson macht aus, dass sie eine Einheit ist von Ausdruck, Seele, Stimmklang und Stimmkultur. Sie ist noch jung, sie ist sehr begabt und sie war vor allem eine Einheit, die einen seelisch beglückte. Sie war eine der wenigsten, die mich berührt hat.") Julie Kaufmann, Jury, ARD 2009 International Music Competition Sometimes the enthusiasts in the hall experience impressive confirmation by the jury. Excited applause surged up in the Herkulessaal when the audience favourite, the Australian Anita Watson was also crowned before the jury before the two competitors from Korea. The singer in her late-twenties, already hugely praised in the first two rounds, had sung in the final Donizetti and Mozart arias and proved everything that a great singer needs with her beautifully velvet timbre, lyric as well as dramatic qualities, inner-engagement and an unfaltering technique. One will hear her, and of her, with joy. (Manchmal erfahren die Enthusiasten im Saal eindrucksvolle Bestätigung durch die Jury. Begeisterter Beifall brandete im Herkulessaal auf, als die Favoritin des Publikums, die Aus­tralierin Anita Watson, auch von der Jury gekrönt wurde, vor zwei Konkurrentinnen aus Korea. Die Endzwanzigerin, schon seit den ersten Entscheidungen hoch gelobt, hatte im Finale Donizetti- und Mozart-Arien gesungen und dabei mit wunderschönem, samtenem Timbre lyrische wie dramatische Qualität, inneres Engagement und eine nicht nachlassende Technik bewiesen – alles, was eine große Sängerin braucht. Man wird sie und von ihr mit Freude hören). Reviewed by Wolfgang Johannes Müller,Bayernkurier, 02. Oktober 2009 Anita Watson (Australia) was for me the most convincing of the sopranos in the second round. With great, sophisticated colouring of Verdi’s "Timor di me ... D'amor sull'ali rosee" from "Il Trovatore" and with tone which was increased sublimely from piano to fortissimo, which unfolded like the bouquet of a fine red wine. The "Piangero" of Handel's Cleopatra couldn’t have sounded more melancholic, but also Strauss’ "Schlagende Herzen" and Mendelssohn's "Hear Ye Israel" enchanted through excellent phrasing and a luminous sheen that lay over all the high notes. (Anita Watson (Australien) war für mich unter den Sopranistinnen die Überzeugendste im zweiten Durchgang. Mit großartigem, differenziert abgetöntem Verdi ("Timor di me ... D'amor sull'ali rosee" aus "Il Trovatore") und grandios aus dem Piano ins Fortissimo gesteigerten Tönen, die sich entfalteten wie das Bouquet eines edlen Rotweins, nahm die Australierin für sich ein. Das "Piangerò" der Händelschen Cleopatra hätte nicht wehmütiger klingen können, aber auch Strauss ("Schlagende Herzen") oder das "Hear ye Israel" Mendelssohns verzauberte durch exzellente Phrasierung und den leuchtenden Schimmer, der über allen Spitzentönen lag). Reviewed byKlaus Kalchschmid, ARD –Wettbewerbs – Tagesbuch 2009: KlassikInfo.de The Australian Anita Watson sang consistently, calm in herself, lyrically enchanting, effortless and not-nervous from round to round. Without a doubt the best in the year. (Souverän in sich ruhend, lyrisch bezaubernd, unangestrengt und unaufgeregt sang sich die Australierin Anita Watson von Runde zu Runde. Zweifelsohne die Beste in diesem Jahrgang). Reviewed by Marion Ammicht, http://www.dradio.de It was clear that Anita Watson, who performed right at the beginning of the first day, would manage to convince the high-calibre jury - with Grace Bumbry, Cheryl Studer, Julie Kaufmann, Robert Tear, Konrad Jarnot, Lado Ataneli and Irwin Gage, chaired by Jens Malte Fischer - with her big, permeating, rich, expressive voice. She achieved soft, warm lines with her "Embroidery in childhood" from Britten's "Peter Grimes" and she also knew how to phrase precisely and expressively with Bizet’s "Je dis que rien ne m'Èpouvante" from "Carmen“. (Es war klar, dass die bereits zu Beginn des ersten Tags auftretende Australierin Anita Watson es schaffen würde, die Jury - hochkarätig besetzt mit Grace Bumbry, Cheryl Studer, Julie Kaufmann, Robert Tear, Konrad Jarnot, Lado Ataneli und Irwin Gage unter Vorsitz von Jens Malte Fischer - mit ihrer großen, durchdringenden, gehaltvollen, ausdrucksvollen Stimme zu überzeugen. Weiche, warme Bögen gelangen ihr bei "Embroidery in childhood" aus Brittens "Peter Grimes" und auch bei Bizet ("Je dis que rien ne m'épouvante" aus "Carmen") wusste sie immer präzise und ausdrucksvoll zu phrasieren). Reviewed by Klaus Kalchschmid, ARD –Wettbewerbs – Tagesbuch 2009: KlassikInfo.de "Top of the bill vocally is Anita Watson's Rita, the forceful, volatile wife, dominating her creeping husband. Watson possesses a pure, easy soprano, and every coloratura run, every roulade, every decoration is deployed to further her thoughtful, convincing and humorous characterisation." Rita, Royal Opera House, Linbury Theatre, 18 October 2007, Reviewed by Dave Paxton, www.musicomh.com "Anita Watson, singing the title role of Rita, made a very favourable impression from the outset, walking onto the stage with great confidence. To those fortunate enough to know even a little Italian, Anita Watson’s clear and expressive delivery of the text was a great help; even to those who knew no Italian, her body language and tone of voice appeared to communicate considerably more than I would have expected. If the other two members of the cast, Haoyin Xue and Krzysztof Szumanski, were slightly less easy to understand, Miss Watson had ensured by her spirited opening to the opera that her audience was sufficiently engaged to listen as closely as possible. Her singing was no less exceptional: a powerful, rich sound that is equally well suited to the later moments of the opera, when a gentler characterisation of Rita is necessary, as to the more strident beginnings. I look forward very much to her future performances at the Royal Opera House." Rita, Royal Opera, Linbury Theatre, 20th October 2007, Reviewed by www.primi-divi.blog.co.uk "Some of the lighter moments of this production translated very well from stage to screen: Anita Watson’s superb and all-too-brief appearance as the Dew-Fairy, swishing rubbish bags this way and that about the stage with her magic wand also brings humour to the production". Hansel and Gretel, Royal Opera House, DVD review (Opus Arte), Reviewed by http://www.opera-britannia.com Jette Parker Young Artists Pumeza Matshikiza and Anita Watson both gave excellent performances in the lovable roles of the Sandman and the Dew Fairy respectively, cushioned and seemingly inspired by Davis and the orchestra. Hansel and Gretel, Royal Opera House, 9 December 2008, Reviewed by http://boulezian.blogspot.com The two witches (“Young Artists” Eri Nakamura and Pumeza Matshikiza) were depicted as a somewhat creepy pair of conjoined twins and sang extremely well, as did their fellow “Young Artist” Anita Watson as the Second Woman. Dido and Aeneas, Royal Opera House, Tuesday, 07 July 2009, Reviewed by Faye Courtney http://www.opera-britannia.com "Anita Watson, a delightfully dippy Italian diva, her Monroe-style hair and outfit not detracting from her idiomatic singing". Jette Parker Young Artists Summer Concert, Royal Opera House, 20 July 2008, Reviewed by Melanie Eskenazi www.classicalsource.com "The soprano Anita Watson - Mozart's Countess, Strauss's Italian Soprano - did good work with very little material" Jette Parker Young Artists Summer Concert, Royal Opera House, 22 July 2008, Reviewed by Neil Fisher, The Times. "Anita Watson's drunken Italian Soprano, was a platinum blonde Marilyn Monroe. Watson followed up her warmly sung Countess Almaviva with another well characterized bit-part." Jette Parker Young Artists Summer Concert, Royal Opera House, Reviewed by Jim Pritchard, Seen and Heard. "The excellence of Naiad, Dryad, and Echo (Respectively, Anita Watson, Sarah Castle, and Anna Leese), who accompany Ariadne throughout, was a measure of the high vocal standards of this production. Their "Schlaeft Sie?" trio was sublime. Echo was particularly impressive, as was young Miss Watson, who obviously has a big future ahead of her." Ariadne auf Naxos, Royal Opera House, 1 July 2008, Reviewed by Robert R. Reilly, Seen and Heard. "The Three nymphs - Anita Watson (Naiad), Sarah Castle (Dryad) and Anna Leese (Echo) - were dressed in formal black servant attire and sang well." Ariadne auf Naxos, Royal Opera House, June 18 2008, Reviewed by Vivien Schweitzer, The New York Times. "Anita Watson (another Young Artist), Sarah Castle and Anna Leese made a fine trio as Naiad, Dryad and Echo." Ariadne auf Naxos, Royal Opera House, 17 June 2008, Reviewed by Hugo Shirley www.musicalcriticism.com "Anita Watson, Sarah Castle and Anna Leese make a well-matched trio of nymphs". Ariadne auf Naxos, Royal Opera House, 18 June 2008, Reviewed by Richard Morrison, The Times. "Anita Watson makes a very good Voice from Heaven" Don Carlo, Royal Opera House, 6th June, 2008, Reviewed by Dominic McHugh, www.musicalcriticism.com "The smaller roles are cast from strength…a radiant Voice from Heaven from Anita Watson…" Don Carlo, Royal Opera House, 6th June, 2008, Reviewed by Alexander Campbell, www.classicalsource.com "All the smaller parts were without exception brilliantly sung, and it was fascinating to get a glimpse (amphitheatre seats have an advantage here) of the exquisitely crystalline Voice from Heaven, Anita Watson, as she sang from literally right on top of the auditorium, through the vent in the centre of the roof." Don Carlo, Royal Opera House, 6th June, 2008 www.intermezzo.typepad.com "The three ladies - Elizabeth Sikora and Jette Parker Young Artists Anita Watson and Monika-Evelin Liiv - were excellent, a significant improvement on those in the first cast. Vocally more secure, they were also far more successful in their delivery of the text - both spoken and sung." Die Zauberfloete, Royal Opera House, 7th February 2008, Reviewed by Hugo Shirley, www.musicalcriticism.com "The Three Ladies (Anita Watson, Monika-Evelin Liiv and Elizabeth Sikora) are also excellent." Die Zauberfloete, Royal Opera House, 7th February 2008, Reviewed by Stephen Pettit, Opera Magazine. "Der mit 4000 Euro dotierte vierte Platz (Förderpreis der Stadt Yokosuka) ging an Anita Watson aus Australien. Die 27-Jährige, die sich am Londoner Covent Garden derzeit den letzten Schliff geben lässt, wurde vom Publikum ob ihres anrührenden, lyrischen Soprans lautstark gefeiert." 2007 Neue Stimmen Competition, http://www.die-glocke.de "Das die Geschmaeker im Publikum und in der Jury immer wieder mal stark voneinander abweichen, zeigte die Platzierung von Anita Watson auf Rang vier. Sie ueberzog die Pamina-Arie mit einem kernigen Klanggestus, der sich wohltuend von einer apart-neutralen Mozart-Pflichtuebung abhob. Mit ihrer Darbietung der grossen Arie "Depuis le jour" aus Charpentiers 'Louise' bezwang sie endgueltig die Herzen der Zuhoerer. Die vielleicht reifste Stimme unter den Bewerberrinnen, im Timbre durchwoben von einer Silbrigkeit, das aufhorchen und vielleicht auf eine fabelhafte Richard-Strauss Interpretin hoffen laesst". 2007 Neue Stimme Competition, Reviewed by K.G.v.Karais, Das Opernglass, December 2007. "Anita Watson was a fitting partner. She had a delicious sense of fun as she taunted the count and toyed with Figaro. Her singing had sparkle and assurance, especially in her big aria in the final act. She produced a glorious stream of warm tone. Her ensembles with the countess and Marcellina were brighter, more pert efforts which projected Susanna's indefatigable character superbly"…."The sexual tension between the count and Susanna was palpable. Their acting was top rate". Le Nozze di Figaro, His Majesty's Theatre, Reviewed by Alan True, Opera-Opera, January 2005. "Anita Watson, a recent graduate of the Australian Opera Studio,sang Pamina's aria Ach ich fühls, phrase by phrase, bar by bar, but always with breathtaking loveliness." Discover Mozart Sydney Symphonia Concert, City Recital Hall, Reviewed by Harriet Cunningham, Sydney Morning Herald, 9th February 2006. "Bei den exzellent gefürhrten und individualisitieren Randfiguren (besonders hübsch:Petra Baráthová als Jano und Anita Watson als Barena) gibt es keinen Ausfall. Jenufa, Cologne Opera, Reviewed by der Kölner Stadt-Anzeiger, 30 April 2007. "Soprano Anita Watson's ringing tone carried effortlessly to the far corners of the venue; in Rejoice Greatly, the exultant mood of the writing was most effectively conveyed." Messiah, UWA Choral Society, Winthrop Hall, Reviewed by Neville Cohn, The West Australian, Tuesday December 21, 2004. "Vor allem Anita Watson und Andrés Orozco-Martinez gefallen, der rest des Ensembles sei pauschal bedankt". Die Feen, Cologne Opera , Reviewed by der Kölner Stadt-Anzeiger, May 29, 2007. "In her second chance, the title character's Depuis le jour from Louise, Watson was even more impressive: lovely sounds, seemless flow and plenty of emotional involvement with her character evolved impressively toward the near point of ecstasy, followed by a neat partial withdrawal into her shell at the end. She was a worthy winner." 2005 Mathy Awards Final, Reviewed by David Gyger, Opera-Opera, December 2005. "Anita Watson of Maylands, WA, came up with a wealth of heart and lyrical flow for Doretta's Dream from La Rondine (Puccini), and a reasonably ingratiating reading of The Trees on the Mountains from Susannah (Floyd)." McDonalds Operatic Aria Final, Reviewed by David Gyger, Opera-Opera, October 2005. "The burlesque characters, Pedro and Garcias, are written for sopranos, and Anita Watson and Aivale Cole made the most of their limited opportunities, singing with gracious charm." Don Quichotte, Reviewed by Alan True, Opera-Opera, November 2004. "The three women were even better. The spinning scene and the linen folding scene were exemplary examples of sensitive singing with the three well contrasted voices blending effortlessly…After the rape scene Bianca, sung with rich authority by Mirriam Sharrad, and Lucia, the flightier soprano sung by Anita Watson, combined in the flower arranging duet, unaware of the horror of the previous night. The delicacy of their singing matched the mood to a nicety". The Rape of Lucretia, Regal Theatre, Reviewed by Alan True, Opera-Opera, August 2004. "Miriam Sharrad made the most of her small role as Lucretia's nurse, as did Anita Watson as the maid". The Rape of Lucretia, Regal Theatre, Reviewed by Neville Cohn, The West Australian, Tuesday June 22, 2004.