Reviews

Karin Dahlberg (formerly Roman), soprano

2015

"Sopranen Karin Dahlberg var enastående. Hennes koloratursång i 'Rejoice greatly' var perfekt i precision och tonträff, och hon sjöng senare återhållet och vackert Benny Anderssons och Kristina Lugns 'En skrift i snön'. Stina Ekblad läste till sist Tranströmers fina dikt 'C-dur' som ledde över till C P E Bachs Magnificat med innerlig sång av Dahlberg i 'Quia respexit.'"

Translation: "The soprano Karin Dahlberg was astounding. In ‘Rejoice greatly', her coloratura was perfect in precision and tone, and later she performed Benny Andersson's and Kristina Lugn's ‘En skrift i snön' with both balance and beauty. Finally, Stina Ekblad recited Tranströmer's beautiful poem ‘C-dur', leading us into C P E Bach's Magnificat with an intimate interpretation from Dahlberg in "Quia respexit.'"
Upsala Nya Tidning (Sweden), New Year Concert, Drottningholm Baroque Ensemble, Uppsala University Auditorium

"'Mad Songs'…uttrycker vansinne, förtvivlan och förvirring och det var en upplevelse att se och höra Karin Dahlberg, hyllad sopran framföra dessa växlingsrika sånger med dramatiskt kroppsspråk, fullständig röstbehärskning och utmärkt frasering i varje detalj. 'Exsultate, jubilate'…blev en storartad upplevelse med solisten Karin Dahlberg som med teknisk briljans, underbar klang i hela registret och en scenisk utstrålning som var betagande fångade publiken helt. Det avslutande Alleluja fick publiken att jubla."

Translation: "'Mad Songs'...express madness, anguish and confusion, and it was an experience to watch and hear Karin Dahlberg, celebrated soprano, perform these rapidly moodshifting songs with dramatic posturing, complete vocal control and perfect phrasing down to the smallest detail. 'Exsultate, jubilate'...was an exquisite experience featuring the soloist Karin Dahlberg, who with technical brilliance, a wonderful timbre throughout the extensive register, and a breathtaking scenic charisma completely captivated the audience. The Alleluia finale brought the audience to their feet."
Barometern (Sweden), Camerata Nordica, Kalmar Castle

2014

"..solisterna var utmärkta, där Olle Perssons (baryton) Jesus och Karin Dahlberg (sopran), med sin täta och samtidigt öppna och runda klang imponerade mest."

Translation: "..the soloists were exquisite, the most impressive performances coming from Olle Persson's (baritone) Jesus and Karin Dahlberg (soprano), with her tight and concurrently open and round timbre."
nutidamusik.com, Sven-David Sandström's Matthäus-Passion, Berliner Philharmonie

"Den Zuhörern stockte der Atem. Mit der Interpretation der Rückert-Lieder und dem Auftreten von Karin Dahlberg gewann das Programm eine neue Perspektive. Mahlers Vertonung in einem durchsichtigen, fast fragilen Orchestersatz in wechselnden Besetzungen wurde von der schwedischen Sopranistin Karin Dahlberg so ausdrucksstark im verinnerlichten Piano wie im selbstbewussten Forte gesungen, dass den Zuhörern der Atem stockte. Sicher in der musikalischen Linienführung und der Gestaltung der Spannung erweckte sie die Lieder zum Leben. Unvergessen bleibt vor allem das letzte Lied: „Ich bin der Welt abhanden gekommen“, ein Abgesang auf das „Weltgetümmel“ und die Wendung zur Liebe und zur Musik, die im intimen Orchesternachspiel einen wunderbar versöhnenden Ausklang fand.“

Translation: "The audience was left breathless. Karin Dahlberg's interpretation and performance of Rückert-Lieder transformed the programme into a new perspective. Mahler's composition in a translucent, almost sheer orchestra part in a variety of settings, was sung so sensitively by the Swedish soprano Karin Dahlberg, from the most intimate piano to the most self-confident forte, that the audience was left breathless. With an assuredness in both musical lines and creation of tension, she made the songs come alive. Most unforgettable is the last song: 'Ich bin der Welt abhanden gekommen,' a farewell to the 'turbulence of the world' in favour of love and music, which reached a wonderful, reconciliating finale in the intimate orchestra finish."
Westfalenpost (Germany), Jubiläumskonzert, Mahler Rückert-Lieder

2013

"Einen großartigen und eindrucksvollen Verdi-Konzertabend erlebten die zahlreichen Zuhörer in der überfüllten Abteikirche Königsmünster in Meschede. Vor allem die beiden Sängerinnen glänzten mit strahlenden und durchdringenden Stimmen beim gemeinsamen Gesang mit dem Chor."

Translation: "The Abteikirche Königsmünster Convent Church of Meschede was filled to its limits, and the numerous crowd were treated to a grand and impressive evening of Verdi concert music. Especially the two female singers excelled, their voices gleaming and soaring as they teamed up with the choir."
Westfalenpost (Germany), Verdi's Messa da Requiem

"Solisterna tillhör alla eliten av svenska barocksångartister. Karin Dahlbergs sopran svävade med utsökt lätthet igenom sina recitativ och arior. Duetterna 'He shall feed his flock' och 'Death, where is thy sting' var höjdpunkter. Bifallet efteråt var stort och välförtjänt."

Translation: “The soloists represent the elite of Swedish baroque singers. Karin Dahlberg's soprano soared with exquisite lightness through both recitatives and arias. The duets 'He shall feed his flock' and 'Death, where is thy sting' were highlights. The ovation at the end was grand and well-deserved."
Upsala Nya Tidning (Sweden), Handel's Messiah, Uppsala Concert Hall

"Ett historiskt ögonblick. Karin Dahlbergs sopranversion av altarian 'Erbarme dich' var hisnande. Upplevelsen var total."

Translation: “A historic moment. Karin Dahlberg's soprano version of the alto aria 'Erbarme dich' was breathtaking. The experience was one of perfection."
Upsala Nya Tidning (Sweden), Bach's St Matthew Passion in Mendelssohn's version

2011

"Karins fantastiska röst fyller rummet, klar, ren och mjuk. Det är musik som friskaste vatten. 'Pie Jesu' är orgelns, harpans och Karins, en ren ljusdränkt njutning."

Translation: “Karin's amazing voice fills the room; it is clear, crisp and soft. The music is like the freshest water. 'Pie Jesu' belongs to the organ, the harp, and Karin: a pure feast of light."
Gefle Dagblad (Sweden), Memorial concert for Chernobyl (25 years), Mozart's Mass in C Minor

"Duo fick tiden att stå still.Karin Roman fyllde varje fras och sångtext med karaktär och mening. Textningen var omsorgsfull men aldrig underordnad tonens skönhet och den karaktärsmässiga gestaltningen. Då Arlens klassiker 'Over the rainbow' och Ellingtons 'Heaven' avlöste framträdde förmågan att kameleontiskt anpassa uttrycksmedlen efter repertoar; en mindre sonor och mer anspråkslös röstklang skapade effektivt marginalen till uttrycksfull klangfrossa."

Translation: "Duo stopped time.Karin Roman filled every phrase and text with character and meaning. The attention to diction was thorough, but never surpassed the beauty of tone and depiction of character. As Arlen's classic 'Over the Rainbow' and Ellington's 'Heaven' took over, a chameleon-like ability to adjust expression to repertoire emerged; a less sonorous and more unpretentious timbre created an effectful contrast to the expressive fullness of voice."
Hallandsposten (Sweden), Chamber Concert with Bernt Wilhelmsson piano

2010

“As in 'Batseba' and even more in 'High Mass', Sandström often requires his soloists to sing in the extremes of their registers. The soprano has to soar high above the stave and the baritone should ideally have some extra bass notes to cope with his part. Like Puccini and Richard Strauss, Sven-David Sandström seems to have a particular love affair with the soprano voice, and Karin Roman, who has sung in several of his previous works, fulfilled all his demands with her bright and superbly well focused voice."
MusicWeb-International (UK), Sven-David Sandström's Messiah

"Kvällens höjdpunkt är avslutande 'Libera me'. Karin Romans sätt att spara på vibratot och använda det som ett uttrycksmedel harmonierar med körens ideal."

Translation: "The evening's highlight is the final 'Libera me'. Karin Roman's technique of holding the vibrato back and using it as an expressive tool creates a harmony with the intents of the choir."
Sydsvenskan (Sweden), Verdi's Messa da Requiem

2009

"Le Duetto de la Cantate BWV 99 avec l'excellente Karin Roman (soprano)"
Amazon.fr (France) Bach album Anne Sofie von Otter, Deutsche Grammophon

"På några spår finner von Otter kongeniala duettpartners i sopranen Karin Roman och tenoren Anders J Dahlin."

Translation: “On some tracks von Otter finds congenial duet partners in soprano Karin Roman and tenor Anders J Dahlin."
Svenska Dagbladet (Sweden), Bach album Anne Sofie von Otter, Deutsche Grammophon

"Karin Roman var et nytt og tiltalende bekjentskap. Hun har en særdeles vakker stemme, god teknikk og en fin evne til å eksponere budskapet i det hun synger."

Translation: “Karin Roman was a new and appealing acquaintance. She has an exceptionally beautiful voice, excellent technique and a great ability to convey the message of what she sings."
Bergens Tidende (Norway), Haydn's Stabat Mater, Håkonshallen

2008

"Det var också spännande att höra den nya sopranen Karin Roman i en duett med von Otter där hon med en fin kärna i rösten gav textens ord om korsets bitterhet all tänkbar intensitet. Roman är ett verkligt löfte."

Translation: "It was also exciting to hear the new soprano Karin Roman in a duet with von Otter, where in the fine core of her voice provided the text of bitterness of the Cross with all conceivable intensity. Roman is a real promise."
Dagens Nyheter (Sweden), Bach Concert with Anne Sofie von Otter

"..aftenens glimrende sopran, Karin Roman." Politiken

Translation: ..the evening's sparkling soprano, Karin Roman."
Politiken (Denmark), Bach Concert with Anne Sofie von Otter

“Alessandro De Marchi dirige l'Academia Montis Regalis sfoderando una ricchezza di colori che non sempre rientra nell'armamentario delle orchestre specializzate nel repertorio antico e barocco; ma forse su una simile tavolozza avrebbero meglio figurato voci operistiche “vere", anziché meri specialisti del repertorio seicentesco. Qui di voce"vera" c'era solo quella morbida e carnosa, oltre che capace di accenti genuinamente drammatici, del soprano Karin Roman nei panni della madre della protagonista: una mamma assai più sensuale della figlia"

Translation: "Alessandro De Marchi conducts Academia Montis Regalis with a richness of colour not always associated with orchestras that specialize in the baroque. With such a rich palett, perhaps real opera voices would have been more suitable than obvious experts of seventeenth century repertoire. Only one such true opera sound was present here, namely the soft and full-toned voice of the soprano Karin Roman, capable of genuinely dramatic contributions in the role of the Mother; a mama more sensual than her own daughter."
Drammaturgia.it (Italy) Innsbrucker Festwochen, Pasquini's Opera Sant'Agnese, Tiroler Landestheater

2006

"Ännu mer sublimt blev det när Karin Roman gjorde sina insatser. Hennes röst är välbalanserad, vacker och inkännande på ett ovanligt sätt. Hennes röst personifierar verkligen det himmelska i musiken. På det enskilda planet var Romans röst den stora behållningen, som gjorde att övriga solisters mycket habila insatser bleknade något."

Translation: "The performance became even more sublime whenever Karin Roman came in. Her voice is uniquely well-balanced, beautiful and sensitive, and truly personifies the divinity of the music. On the individual level, Roman's voice was particularly meriting, causing the performance of the other very capable soloists to pale somewhat."
Helsingborgs Dagblad (Sweden), Mozart's Mass in C Minor, Helsingborg Symphony Orchestra, Helsingborg Concert Hall

"Karin Romans insats präglades av utomordentligt väl utarbetade detaljer och en stämma som klingade perfekt över hela registret. Den stilkänsla hon visade är ingen självklarhet, men naturligtvis en stor tillgång i musik av detta slag."

Translation: "Karin Roman's performance was characterised by a remarkable attention to detail and resounded perfectly along the entire vocal range. The attention to artistic style shown by her can never be taken for granted, but must obviously count as a great asset in music of this kind."
Göteborgs-Posten (Sweden), Handel's Messiah, Gothenburg Symphony Orchestra, Gothenburg Concert Hall

2005

"Und Stefan Parkman hatte mit Karin Roman eine Sopranistin engagiert, die auf Grund einer tadellosen Stimmtechnik mit unangestrengter Innigkeit die Arie “Gedenk an uns mit deiner Liebe“ wie die Versöhnung religiöser und weltlicher Herrschaft klingen ließ.“

Translation: “In Karin Roman, Stefan Parkman had a soprano who by means of a faultless vocal technique made the aria "Gedenk an uns mit deiner Liebe" sound like the reconciliation of religious and worldly power, delivered with effortless inner conviction."
Stuttgarter Zeitung (Germany), Bach BWV 29, Internationale Bachakademie Stuttgart