Making her Proms debut, Elisabeth Kulman, always an admirable artist, proved a fine choice as soloist: the ‘instrumental’ quality to her voice adding, in a typically Wagnerian dialectic, to the blend of words and music. ‘Der Engel’, opening, sounded very much as a Lied, as it should, even if one with undeniable ‘operatic’ connections. Tristan

Thomas Larcher’s Imaginative New Symphony at the Proms … Separating the two purely orchestral works were Wagner’s intimate Wesendonck-Lieder, here featuring the super mezzo of Austrian singer Elisabeth Kulman, making her Proms debut. Ideally accompanied by gossamer strings, Kulman’s entrance in ‘Der Engel’, the first song, introduced her simply lovely voice. Her diction, too, was

Bychkov’s reading of Wagner’s Wesendonck-Lieder with the mezzo-soprano Elisabeth Kulman (in the Felix Mottl orchestration) was poised and serene. Kulman sang with a golden, even tone and impeccable attention to Mathilde Wesendonck’s text, while music that describes agony in Tristan und Isolde spoke here of nothing but bliss.Anna Picard, The Times, 30 August 2016 (Bychkovs

The Wagner, with Elisabeth Kulman the immaculate soloist and Bychkov keenly alert to the music’s refined sensuality, was utterly beguiling. Tim Ashley, The Guardian, 29 August 2016 Der Wagner war – mit Elisabeth Kulman als makelloser Solistin und Bychkovs hoher Aufmerksamkeit gegenüber der feinen Sinnlichkeit der Musik – zutiefst betörend.

Wagner’s Wesendonck-Lieder are often given a sultry air, as if to reveal the all-too-human erotic feelings behind the mystical sentiments of the poetry. Here mezzo-soprano Elisabeth Kulman gave the songs a lovely chaste quality, supported with the utmost delicacy by Bychkov and the BBC SO, which was surprising and deeply moving. Ivan Hewett, The Telegraph,

Prom 57: Moving mountains: Larcher, Wagner and Strauss from the BBC Symphony Orchestra … The intimacy of Wagner’s Wesendonck Lieder, composed in Zurich while the composer was sponging off the hospitality of a retired Swiss silk merchant and falling for his wife, proved the perfect foil. It was a performance as notable for the Proms

The Songs were heard in the familiar orchestration by Felix Mottl, and featured Austrian mezzo Elisabeth Kulman – a singer with a gloriously warm middle range allied to a secure limpid top register, so that the occasional forays high above the stave were given their due measure. Her diction was superb, and she bought intimacy

Ludwig van Beethoven, Missa Solemnis – Sächsische Staatskapelle Dresden, Semperoper As every year since 1951 the Staatskapelle Dresden is dedicating one of their symphonic concerts to the victims of the bombardment on Dresden in february 1943. This year Kapellmeister Christian Thielemann conducted Beethoven’s Missa Solemnis in two concerts (one on the memorial day – 13th

The ten-part composition weaves neo-classical elements and forms with the modern and theatrical to form a piece which often seems very somber, but occasionally takes one’s breath away in surprise. One such moment in the Cantate is the 7th section, the alto solo – sung and portrayed memorably by Elisabeth Kulman – a tango where

Liebesfreud und Liebesleid bis zum Tod Mit großer Ernsthaftigkeit und Gestaltungskraft zeigte sich Elisabeth Kulman als Liedersängerin par excellence. Ursprünglich war Elína Garanca für den Festspielliederabend im Salzburger Haus für Mozart vorgesehen gewesen, aber schon vor Wochen hatte sie ihren Auftritt aus persönlichen Gründen abgesagt. Kulman erwies sich nicht nur als vollwertiger Ersatz, sondern machte