REVIEWS

About La voix humaine:

“Charlotte Riedijk, who specializes in this role, does not miss a single expressive detail.
From euphoria to desperation, she approaches everything with vocal originality.”
La Provincia (Cremona) 07/11/09

“(…) and on this canvas Charlotte Riedijk dances with exceptional theatrical and vocal mastery.”
La Cronaca 07/11/09

“(…) an effective dramaturgy, strengthened by the vocal gifts of Charlotte Riedijk.
Expressive, convincing (…) fully committed and with much intensity”
La Provincia (Como) 14/11/09

“(…) the laurel wreath for the best musical result is for ‘La voix humaine’. Charlotte Riedijk sustains the momentum throughout this solitary role. Each expression and inner movement revealed, with large lyricism, with unquestionable technical and emotional mastery, completely coherent and clear in text and psychological paths.”
La Provincia (Como) 15/11/09

About In großer Sehnsucht:

“That way, all the attention is focused on soprano Charlotte Riedijk who (…) takes on a completely new identity every ten minutes, in which you believe unconditionally.”
De Volkskrant 29/5/07

“Most astonishing (…) was soprano Charlotte Riedijk (…) she really wás five different personalities in one single show. Fully and without reserve she sang her romantic colourful songs, with now and then some spoken fragments.”
Trouw 29/5/07

“The performance of the songs is excellent. Soprano Charlotte Riedijk sings like an angel and the members of the Osiris Trio accompany her with great passion.”
Het Parool 24/4/07

“Charlotte Riedijk is the right instrument for such a vocal challenge – she showed that already in ‘The Expedition’ – and the Osiris Trio sparks.”
Sydsvenskan 28/3/07

Other selected reviews:

“Charlotte Riedijk was the soloist in ‘Six Turkish folk poems’. With her smooth, warm timbre she gave an intimate performance of this lieder cycle.”
De Volkskrant 25/9/2010

“Soprano Charlotte Riedijk sung warmly and vibrantly in the brilliant ‘Six Turkish folk poems’…”
NRC Handelsblad 24/9/2010

“In the quartet with flute, contrabass, harp and percussion Dominguez Rangel not only knows how to unleash mysteriously threatening atmospheres but also intimate and fragile ones. Charlotte Riedijk manoevers herein just as clearly as stimulatingly”
NRC Handelsblad 8/9/2010

“The highlight of the performance (…) was ‘Mach Kein’ by the Korean Myungoon Park, wherein Charlotte Riedijk completely explored the capacity to switch between extremes”
De Volkskrant 8/9/2010

“Soprano Charlotte Riedijk was completely in her element in ‘Urban Songs’ by Klas Torstensson. (…) Riedijk was impressive as a vocal artist, as a human sampler and in the enormous exclamations that were repeated electronically.”
NRC Handelsblad 7/2/2008

“It was only impressive and gripping after the pauze with Klas Torstensson’s ‘Urban Songs’ (1992). Power girl Charlotte Riedijk (…) easily overcame the other three singers and the rolling sounds from the loud speakers resonating from each corner were surprising in their contemporary directness and city rawness. Class!”
Trouw 8/2/2008

“With great sense of theatre Charlotte Riedijk sings and speaks the touching lyrics (…) Declamation, empathy and beautiful vocality are perfectly balanced.”
Haarlems Dagblad 2/4/07

“Riedijk has a crystal clear voice that shines with beauty (…) In Prokofiev’s ‘Five songs on poems by A. Achmatova’ Riedijk and Schrama perfectly find the poetic tone.”
Haarlems Dagblad 14/12/06

“Charlotte Riedijk sings and acts at top level. The acting above all, but the superb art of Charlotte Riedijk’s singing is above all criticism.
Haarlems Dagblad 16/10/06

“…and especially a naturally singing Riedijk, in the terribly difficult ‘Circles’, made the evening to a feast for the ears.”
Trouw 14/3/05

“Soprano Charlotte Riedijk brings her part (…) as if in wonder about the magical result.”
NRC Handelsblad 14/3/05

“In one word ‘magnificent’ was her performance of Mad Bess, in which she fully used all her expressive possibilities.”
Friesch Dagblad 12/12/03

“Riedijk is already engraved in the festival’s collective memory for last year’s riveting performance of Messiaen’s ‘Harawi’, and with her familiar intensity of focus brought both clarity and passion to Shostakovich’s death-obsessed writing.”
The Irish Times 10/7/02

“Charlotte Riedijk sings Gretchen’s desire with passion and shimmering power. Her voice has a beautiful, strong focus and a large range. With her unpretentious style of singing she seems to be a natural talent (…) in the meanwhile she gives evidence of possessing a perfect technique, for which difficulties don’t seem to exist.”
Haarlems Dagblad 17/1/02

“Topping the list of the year’s memorable performances is Messiaen’s exotic song-cycle ‘Harawi’ (…) performed with uncompromising concentration by Charlotte Riedijk (soprano) and Joanna MacGregor (piano)…”
The Irish Times 18/12/01

“Riedijk shines in works by Crumb”
De Telegraaf 17/12/2000

“With soprano Charlotte Riedijk the trio gives an in every aspect exciting Shostakovich: sometimes intimate, sometimes very dramatic but as intense as can be.
Nieuwsblad van het Noorden 27/1/99