Reviews

Two Awakenings and a Double Lullaby/Kernis
Guitar Foundation of America/Annual Convention and Competition

“Soprano Anja Strauss followed the mercurial moods of the texts with great subtlety.” READ FULL REVIEW

--San Francisco Classical Voice, 2008

Governess , The Turn of the Screw/Britten
San Francisco Lyric Opera; Barnaby Palmer, conductor

“Soprano Anja Strauss brought vivid vocalism and a keen sense of anguish to the part of the Governess.” READ FULL REVIEW

--San Francisco Chronicle, 2008

Governess , The Turn of the Screw/Britten
Oakland Opera Theater; Deirdre McClure, conductor

“Britten wrote his most beautiful soprano role for the governess, and Anja Strauss sings it with urgency and clear, silvery tone.” READ FULL REVIEW

--Contra Costa Times, 2007

Mrs. Bennet , Pride and Prejudice/Mechem
San Francisco Choral Society; Robert Geary, conductor

“...the strikingly agile, free top range and poised confidence of soprano Anja Strauss (Mrs. Bennet) left me eager to hear her tackle the Governess in Oakland Opera Theater’s October production of Britten’s The Turn of the Screw. ” READ FULL REVIEW

--San Francisco Classical Voice, 2007

Stephano, Romeo et Juliet/Gounod
San Francisco Lyric Opera; Barnaby Palmer, conductor

“By the second half of the evening (which telescoped Acts 3 and 4), it was possible to give yourself over to the music, especially with the wonderful — if regrettably short — appearance of Anja Strauss as Stephano. One moment in the spotlight, one aria, and Strauss gave the audience an "experience," even without — no, especially without — loud singing. She showed presence, authenticity, good taste, and genuine communication: There are no small roles, indeed.” READ FULL REVIEW

--San Francisco Classical Voice, 2007

Bernstein Bash / Herbst Theater
San Francisco Chamber Orchestra; Benjamin Simon, conductor

“Successful was what followed, Strauss' rendition of the Candide tour de force, “Glitter and Be Gay.” Again with her wonderful expressions, acting ability, and vocal apparatus, Strauss stood out. Most impressive was her transition from the first instance of Rossini-like patter back to the lugubrious music of the opening lament — the best I’ve heard any singer do, live or in recording.”

--San Francisco Classical Voice, 2006

Mabel, The Pirates of Penzance/Sullivan
Lamplighters Music Theatre, San Francisco; Robert Wood, conductor

“A special reason to go to this Gilbert & Sullivan production is to witness "Mabel, the Queen of Night," that is, soprano Anja Strauss's outstanding performance on alternate nights as Mabel. With the staccato coloratura required of the Queen in The Magic Flute, the young German singer renders "Poor wand'ring one" with an effortless cadenza, E-flats cascading as pearls.”

--San Francisco Classical Voice, 2006

Blonde, The Abduction from the Seraglio/Mozart
San Francisco Lyric Opera; Barnaby Palmer, conductor

“Soprano Anja Strauss almost stole the show with her sprightly arias and duets, her every gesture and stance musically tailored to her character. Strauss seems to have an innate feeling for Mozartean style, knowing when to intensify a phrase as well as when to let it float and linger. She was especially affecting in her instructive aria, “Durch Zärtlichkeit und Schmeicheln” (With tenderness and flattery can I be won), and her German enunciation remained a model throughout.” - READ FULL REVIEW

--San Francisco Classical Voice, 2005

Frasquita, Carmen/Bizet
San Francisco Lyric Opera; Barnaby Palmer, conductor

“The truth must be told: Opera goes better with such beautiful, fiery singing actresses as Ariela Morgenstern in the title role, Sarah Macbride as Micaëla, the explosive Anja Strauss as Frasquita, and Katherine Growden as Mercédès .” READ FULL REVIEW

--San Francisco Classical Voice, 2005

Recital, Mozart Society of California; Carmel, CA
Daniel Lockert, Klavier

“What a beauty! What a voice! … Her song sets of works by Mozart, Rodrigo, Schubert, Fauré, Korngold and Grieg were impeccably interpreted by this masterful art singer. Her voice is pure, brilliant and flexible, yet precisely controlled. Strauss herself is thoroughly charming and presents her material with engaging remarks between sets. The concert was a joy, the singing bursting with light and expression .” READ FULL REVIEW

--Monterey Herald, 2005

Recital, Mozart Society of California; Carmel, CA
Daniel Lockert, piano

“Strauss exudes an appealing self confidence. As well she should, for she performed during this concert with a convincing mastery of her chosen repertoire with the appealing charm of a natural and gifted artist. During this concert we heard her in a broad range of styles, and she proved to be equally comfortable in lieder, opera and Broadway. Strauss was impressive in the way she so deftly expressed various states of emotion so naturally, and so convincingly. Her ability to suddenly shift gears and go into overdrive in another style was something we observed several times during this concert.”

--Lyn Bronson, 2005; Reviews of Musical Events on the Monterey Peninsula

Oscar, Un Ballo in Maschera, Verdi
Townsend Opera Players; Buck Townsend, conductor

“Anja Strauss charmed the audience as the pageboy Oscar with her pixie-like presence and clear, flexible soprano voice. She was nimble on stage, and projected exactly the right proportions of naïveté and mischief through her facial expressions, body language, and musical taste.”

--Modesto Bee, 2005

Lauretta, Gianni Schicchi, Puccini
Golden Gate Opera San Francisco; Geoffrey Gallegos, conductor

Anja Strauss, as Lauretta, interprets brilliantly the principal love theme of the opera.

--San Francisco Tribune, 2004

La Dolce Vita Show

“Those stars belong to her... she could paint the night sky with that voice, and make every one of them sparkle just a little brighter.”

-- www.steventiell.com, 2004

Feature Article

“A delicate person, she combines a beautiful voice with great appearance and agility seen in her performance of Eurydice in Orphée aux Enfers.”

--Lübecker Nachrichten, 2002

Recital, Lübeck , Germany
Peter von Wienhardt, piano

“Superb Recital. Presenting a program ranging from Scarlatti to Argento, the soprano obviously wanted to show her artistic versatility as well as her intellectual competence. She succeeded magnificently.”

--Lübecker Nachrichten, 2001

Mozart Concert Aria, KV 418 Vorrei spiegarvi, oh Dio
Kiel Philharmonic Orchestra, Germany

“The young soprano Anja Strauss showed her brilliant as well as consistent vocal expression from the lowest register to the highest coloraturas.”

--Kieler Nachrichten, 2000

Schlafittchen, Das Traumfresserchen by Hiller
Hans Otto Theater Potsdam, Germany; Harry Spence Lyth, conductor

"Anja Strauss acts and sings with this appealing and believable naturalness, that suits the role"

--Potsdamer Neueste Nachrichten, 2000

Haydn's The Seasons
Symphonic Orchestra of Schleswig-Holstein, Germany; Matthias Janz, conductor

"Anja Strauss impressed as Hanne with her joyously light lyrical coloratura soprano"

--Flensburger Tageblatt, 2000

Lauretta, Gianni Schicchi, Puccini
Musikhochschule Lübeck, Eberhard Kloke, conductor

“Anja Strauss proves again that she is a great talent. She sang her aria full of expression and sensitivity.”

--Lübecker Nachrichten, 1999

Barbarina, Le Nozze di Figaro
Theater Lübeck; Erich Wächter, conductor

“Anja Strauss knew how to impress in the smaller role of Barbarina.”

--Das Opernglass, 1998

Feature Article

“Her voice has power without sounding harsh, it is transparent, without becoming artificial in sacred music, and in the middle register it develops warmth within seconds.”

--Stormarner Tageblatt, 1997