Verdi Gala, 2013

 Karen Frankenstein, soprano, Ana Hasler, mezzo-soprano, and Gary Martin, baritone were particularly impressive ... Karen Frankenstein presented, together with the  confident singing of Gary Martin as Germont, a brilliant performance as Violetta.

----Klaus Büstrin, Der Tagespie


And over and over, you  hear the love - such as in the  beautiful scene "Madamigella Valery" from "La Traviata". The soprano Karen Frankenstein personified Violetta impressively, with a slim, light soprano full of expression and feeling,  reinforced by her dramatic acting abilities. In the scene "Dite alla Giovine" ... she was particularly touching as she sang about her decision to give up her beloved.

--Ann Brünink, Märkische Allgemeine

Rigoletto, Mannheim Nationaltheater

Luckily, despite the misfortune of Marina Ivanova's cancellation due to illness, Karen Frankenstein was able to step in as Gilda. A young lyric soprano, she mastered the delicate balance between chaste love and sacrificial death brilliantly, both vocally and artistically.

--Mannheimer Morgen

La Traviata, The Hamptons

Standing Ovation for ‘La Traviata´… a newcomer to the company, Karen Frankenstein … in taking on one of the true major soprano roles, she demonstrated a wonderfully pure voice and great range, coupled with stage presence that will surely lead to her gracing major opera houses around the world in the years ahead.

--Roy Bradbrook, Dan’s Paper




La Bohème, Staatsoper Hamburg

The two female main figures of the Mimì ...and Musetta sing and act into the public´s heart from the start. Karen Frankenstein in particular, who came from Hannover to Hamburg just before the start of the show to replace an ailing [colleague] as Musetta, sang her part with fabulous technique and inserted herself seamlessly into the emotional tapestry of the ensemble, as if the production had been arranged around her. Her self-confident appearance in the second act was one of the most important moments of the opera, in that her sex appeal made it possible for the audience to ignore all of the chaos on the stage and concentrate on her alone.

- www.klassik.com

Intolleranza, Staatsoper Hannover

… Karen Frankenstein, … and the orchestra, all have an equal share in an evening you will not soon forget.  With an impressive wealth of security in the constantly changing score, the complexity of expression, movement, dynamic, and color were clearly audible.  (...) One could not convey the relevance of music in theater in a more intelligent, sophisticated, or better manner.

-- Albrecht Thiemann, Opernwelt

…Karen Frankenstein as the Companion gave (an) impressive vocal portrait and mastered the extreme demands of (her) role brilliantly.

--  Christian Schütte, www.opernnetz.de

Il Viaggio a Reims, Staatsoper Hannover

Corinna (Karen Frankenstein) is a genuine, self-possessed Opera Diva, whose presence alone triggers astonished admiration. As she begins her first aria, "Arpa gentil", she showers her audience with charming ornaments and a beguiling lyricism, and her listeners, on stage as well as in the audience, melt away blissfully in her presence, also being televised throughout the airport.

--Jurgen Otten, Frankfurter Rundschau


La Bohème, Staatsoper Hannover


A world class ensemble: At the opening of La Bohème, the new singers in the ensemble displayed their abilities.... Karen Frankenstein's Musetta was brilliant, not only in the Waltz aria, but also in her portrayal of the more contemplative side of Musetta... A successful start to the season.

--Stefan Maub, Hannoversche Allgemeine Zeitung