Dana Marbach
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    Cover of "Opernwelt" magazine, 04/2013                     "Nordwest Zeitung", 12/2014                    

            as Criside in Bruno Maderna's 'Satyricon'                            Jump-in as Iole in Handel's "Hercules"

                        Luzerner Theater  © Ingo Höhn                                                   Oldenburgisches Staatstheater

                                                      (click image to enlarge)                                                                                                                (click image to enlarge)
   Cover of                                         


  • 'Don Pasquale' / Donizetti (Norina) - Luzerner Theater

     "Dana Marbach is completely outstanding as Norina: she acts and moves magnificently, and vocally she belongs to the most vigorous and aspiring forces of the ensemble of Luzerner Theater, as she lately proved in a completely different repertoire (Handel)."
(Neue Zürcher Zeitung / 29.4.2014)


     "As the enthusiastic premiere audience proved, there is plenty of reasons to laugh - due to an ensemble which joins humourous acting with high level of singing. This applies first and foremost for the formidable Dana Marbach in the role of Norina: the way she 'rehearses' the poses of the shy girl (through pictures projected on a bath towel she almost unwraps herself out of) which she will later cast off as a fury, is as dazzling as her singing: flighty as her light coloratures, feisty as her lyric hovering melodic lines, sharp as the tip of the umbrella, that she pins in the deluded old man's back."
(Neue Luzerner Zeitung / 29.4.2014)


     "The singing was also quite remarkable (...) same applies to Dana Marbach as the only woman soloist, in the double role of Norina/Sofronia. She is cheeky as well as timid or cunning, masters effortlessly Coloraturas and cantilenas as well as rapid chatter and scolding."
(www.kulturteil.ch / 29.4.2014)


  'Alcina' / Handel (Morgana) - Luzerner Theater

        "The 'Alcina' production in Lucerne is well worth hearing. Dana Marbach as the platinum-blonde rock-chick Morgana moves through the coloraturas of her aria ‘Tornami a vagheggiar’ as if it was the easiest thing in the world.(…) the Lucerne ensemble further proves itself most suited to performing baroque works."
(Tages Anzeiger / Zurich, 28.1.2014)


      "Dana Marbach is Morgana, the flighty and dangerous little sister of Alcina, with a consciously deployed vibrato and a voice as clear as a bird."
(http://www.kulturteil.ch, 12.1.2014)


      "Dana Marbach as Morgana, the sister of the sorceress Alcina, in her decisive aria in the second act ("ama, sospira"), is able to create straight tones, escalate them thrillingly and then finally convert them into an effective vibrato - this is magnificent. Her ornamentation is vivacious and certainly venturesome..."
(Neue Züricher Zeitung, 13.1.2014)


     "The musical aspect of this new production is also convincing (...) Dana Marbach as the very passionately active Morgana in a rocking look".
(Opernglas, März 2014)


   'La Cenerentola' / Rossini (Clorinda) - Luzerner Theater

        "The two trashy sisters Clorinda (Dana Marbach) and Tisbe (Carolyn Dobbin), prim, gum-chewing and displaying their panties, are contrasted against this self-assuredly kind creature (Cenerentola) in hilarious fashion. With their wonderfully penetrating voices they enrich the ensemble and Rossini's splendid composition magnificiently."
(www.oper-aktuell.info, 2.6.2013)


'La Traviata' / Verdi (Annina) - Luzerner Theater
      "...Also somehow moving is the idea of presenting the aria 'Addio del passato' as a duet Violetta-Annina. With this, not only is the figure of the loyal companion given greater significance. It also takes into account that the role is astoundingly cast with Dana Marbach."
(www.oper-aktuell.info, 12.1.2013)


       "Dana Marbach’s interpretation of Annina is exceptional. She can be heard and admired in a splendid and slightly eccentric duet with Violetta in ‘Addio del passato’; one of the performance’s most original moments."
(http://www.operamagazine.nl, 14.1.2013)


• 'La clemenza di Tito' / Mozart (Servilia) - Luzerner Theater

       "...Dana Marbach gives Annio's lover, Servilia, a sincere expression with her unique, magically light, yet so wonderfully focused and bell-like pure soprano voice"
(www.Oper-Aktuell.info, 10.9.2012)

  'Orfeo' / Gluck (Amor) - Israeli Opera

       "...the Godess of love in a magical rendition by an excellent singer"
(Ha'aretz, May 2012)

      "...soprano Dana Marbach as Amor...was brilliant and charismatic"
(YNET, May 2012)


'Orpheus' / Telemann (Eurydike) - Theater Magdeburg, Théâtre de Saint-Quentin-en-Yvelines
      "In strong contrast to this is Dana Marbach's soft, delicate soprano. Her graceful appearance and noble expression lend an earnest, somewhat stern beauty and dignity to Eurydice."
(Orpheus Magazine, March 2010)


      "Dana Marbach's Euridice captivates with girlish charm and a flawless soprano voice"

(Das Opernglas Magazine, March 2010)


'Dixit Dominus' / Händel - Festiwal Muzyki Dawnej, Szczecin, Poland
      "The performance was of utmost perfection applauded by the audience with standing ovations. In particular it was Dana Marbach who, in spite of her young age fascinated the audience, by the demonstration of her extraordinary talent. This young artist has lately started to conquer the concert halls of Europe..."
(May 31, 2009 / www.kultura.stetinum.pl)


'Dido and Aeneas'- Purcell (Belinda) - New London Consort
      "Dana Marbach .... is utterly charming"
(Manchester Evening News, July 16, 2008)


      "Dana Marbach's Belinda was affectionate but spirited"
(The Scotsman , 20 April, 2009)

      "The purest singing was performed by the delightful Dana Marbach, whose timbre of roses illuminated Belinda's beautiful phrases"
(ResMusica - Luxemburg, 14 November, 2009)


'La Pastorale á Sanssouci' - "I Confidenti" Ensemble, Potsdam
      "… their (Soprano Dana Marbach and Male Soprano Robert Crowe) parts were most demanding and they mastered them very admiringly with wonderful vocal culture – perfect coloratura and lyric vocalization"
(Die Potsdamer Neuesten Nachrichten, May 13, 2008)

     "... (Dana Marbach) delights with cherry-red coloraturas..."
(Märkische Allgemeine Zeitung, May 13, 2008)


'Messiah' / Händel - Styriarte Festival, Graz

        "Dana Marbach led her soprano to gracile coloraturas and brilliant heights..."
(Kleine Zeitung, April 10, 2007)  


      "... Soprano Dana Marbach and Tenor Daniel Johannsen... found their way safely through the coloraturas and discovered time and again fascinating phrasings..."
(Kronen Zeitung, April 10, 2007)


   • 'Armide' / Gluck (Melisse) - Israeli Opera

         "The big surprises were in the supporting roles... the Israeli Dana Marbach, as Melisse… was wonderful both vocally and theatrically ..."
(Globes, November 27, 2006)


  Baroque Concert with the Israeli Chamber Orchestra

       "... a pleasant surprise in the Jaffa concert was the singing of Dana Marbach in two arias from 'Dido & Aeneas' by Purcell. Her confident vocal technique almost surpassed the problematic acoustics, and aroused curiosity to listen to her again..."
(Ha'aretz, April 7, 2006)


'L'allegro, il penseroso ed il moderato' / Handel - Upper Galilee Music Festival
      "… Dana Marbach, a young soprano, captivating with her clear voice and her humorous liveliness..."
(Ha'aretz, August 8, 2004)