(for close-up views - please click on individual Photos)




- London, Covent Garden -

"The honeyed-silk sheen of Tomowa's soprano, with it's gorgeously musky lower register and seductive beat, is for me one of the joys of our operatic age... Purely vocally there were countless moments to treasure: the sugar-sweet sustained G-sharp on the 'Silberne Rose' ; the long-held 'in dem Wie' , and infinitely expressive pause before 'da liegt der ganze Unterschied'; above all the trio...which built to a climax...with a fierce crescendo through the A-flat and a fortissimo B-natural that must have set every chandelier in the house rattling. ... Those great dark eyes spoke volumes when she reproved her hairdresser, and at the first-act curtain when she gazed motion-less into the auditorium, holding the house breathless. ... One last memory: the change in tone color between 'Er soll jetzt gehn', and 'Er soll mich lassen' in the first finale - what tenderness and regret! A great, great performance."

Rodney Milnes - Opera, May 1995



- Chicago - Lyric Opera -

"The performance reached it's musical apex, as all great ones must, in the famous third-act trio, where Anna Tomowa-Sintow, as the Marschallin, gently voiced her resolve to renounce her young lover... I doubt that neither of the singers in the past has created as warm, wise or immensely dignified a portrait as Tomowa-Sintow. ... she made the princess' obsession with aging and her philosophical acceptance of love's passing understandable and undeniably poignant. She sang richly, sustaining the long phrases with a generous, steady soprano, bringing remarkable verbal point and bittersweet pathos to the first-act monoloque. Her farewell to Octavian at the inn was a textbook example of great operatic acting.

John von Rhein - Chicago Tribune, October 1989



"Standing head and shoulders above everyone was the wonderfully distinguished and patrician Anna Tomowa-Sintow as the Marschallin. A beautiful Junoesque woman, she moved and behaved like a well-born princess. Every emotional transition registered with the character, as she listened and reacted with consummate dignity and grandeur. She used the text pointedly, while pouring out a stream of gorgeous, satiny sound, culminating in a deeply felt, radiant opening to the trio of the last act. ... Thank goodness for the show - saving Tomowa-Sintow. The show belonged to her."

Jason T. McVicker - October 1989



"Anna Tomowa-Sintow is the kind of Marschallin you dream of, a woman too old to be young and too young to be old. The developement of her character and moods...is a masterful achievement. She can sing pages in which the voice of Lotte Lehmann will always ring in my private ear, and achieve something that is unmistakably high art and distinctively her own, yet perfectly in harmony with her great predecessor."

Rober C. Marsh - Chicago Sun Times - October 1989



- Salzburger Sommerfestspiele -

"Anna Tomowa-Sintow stehen dafür gestische und mimische Mittel von feinster Noblesse zu Gebote. Da spürt man mit einem Mal auch ganz unmittelbar die Hofmannstahl'sche Poesie, in einer überlegten Diktion, in einem schönem, berührenden Wechselspiel von Aktion und Reaktion, in Nuancen und Facetten, die sich schließlich mit dem gesanglichen Vortrag in harmonischem Einklang bringen lassen. Der Abend gehörte, spätestens ab dem Lever, der Marschallin, gehörte Anna Tomowa-Sintow."

Die Presse - August 1984



- Wiener Staatsoper -

"Rosen für die Marschallin"

"Diesmal freilich war es Anna Tomowa-Sintow allein, der man hätte Rosen streuen müssen. Mein Gott, was für eine Marschallin! Sie hat sich diese Partie auf eine Weise zu eigen gemacht, wie es bisher bestenfalls einem halben Dutzend ihrer Vorgängerin gelungen ist. Jede Nuance stimmt an dieser bezauberndsten Frau, die Strauss und Hofmannstahl je erfanden."

Die Presse - Dezember 1991



- Hamburger Staatsoper -


"...gewiss eines der attraktivsten Damen-Terzette auf der Staatsopernbühne, angeführt von der Feldmarschallin Anna Tomowa-Sintow: einer Grande Dame von Adel und Distinktion, die gleichsam nur mit der Augenbraue regiert, äusserst diskret, sowohl was ihre 'Affären' und ihre Gefühle als auch das Singen selbst betrifft. Kein dramatischer Aus- und Zusammenbruch am Ende des 1. Aktes, nur ein behutsames, einsichtiges Abdecken des Handspiegels - ein überlegener, keineswegs resignierender Schlußabgang: eine Frau von Welt (-Klasse). ... Viel Beifall, der sich auf die Marschallin konzentrierte."

Hamburger Abendblatt - Februar 1989



- Maggio Musicale Firenze - Florence -

"Il fascinoso canto della Marescialla"

La Repubblica - June 1989



The Met Opera Guild - James C. Fretz - on Anna Tomowa-Sintow and her recording of "Der Rosenkavalier" (Marschallin) under Herbert von Karajan

"And speaking of the utterly enchanting Anna Tomowa-Sintow, I have been thoroughly entranced by her Marschallin in Karajan's 1984 Salzburger Festspiele. Such a beautiful woman with a beautiful voice...what a voice!"






- London, Covent Garden Opera -


"Anna-Tomowa-Sintow war eine Kaiserin von imponierender Größe und warmer Menschlichkeit. Seit ihrem Rollendebüt in Bonn vor zwei Jahren, hat sie die Partie nun ganz zu eigen gemacht und jener ersten Interpretation viele neue Facetten im stimmlichen und szenischen Ausdruck hinzugewonnen. War schon ihre Traumszene im 2. Akt von fesselnder Spannung, gelang ihr mit bühnenbeherrschender Präsenz und tief bewegender Ausstrahlung eine nochmalige Steigerung bei den großen Monologen im Finalakt: erregend und mit fulminanten Spitzentönen die Trennung von der Amme (ihr Ausbruch "Du taugst nicht zu mir!" war einer der überwältigsten Augenblicke des Abends) sowie mit berührend zarten Piani und verinnerlichter Schlichtheit die Szene "Vater, bist Du's" eine unvergeßliche Interpretation, mit der die Sängerin ihre bisherige Karriere krönte"

Orpheus - Februar 1993



"Anna Tomowa-Sintow war eine glänzende Kaiserin und bot ein Paradebeispiel feinfühligen Schöngesangs."

Elizabeth Thomas - Welt am Sonntag - 29. November 1992



"Anna-Tomowa-Sintow made a most welcome return to the Royal Opera. The part of the Empress is ideally suited to the burnish gold of a voice at its peak."

Graeme Kay - Opera Now - January 1993



"There is some exceptionally fine singing, especially from Anna Tomowa-Sintow as the Empress, the shadowless woman of the title. I have no wish to be accused of sexism, but there is a vibrancy to her clean, lissome soprano that breathes the very essence of femininity, allied to a dignity of bearing and an indefinable spiritual purity that shines from her every gesture. And she matches Haitink in musical instinct, pouring forth phrase after sculpted phrase of sumptuous beauty throughout."

Rodney Milnes - The Times - November 18, 1992



"...Anna Tomowa-Sintow is spell-binding in the title role...when she came to her moment of decision in Act 3, her soprano burst through the orchestra like burnished gold. She is a treasurable artist, heart-meltingly vulnerable and humane in the opera's pivotal role."

Hugh Canning - The Sunday Times - November 22, 1992



"Anna Tomowa-Sintow is a radiant, captivatingly humane, infinitely compassionate Empress."

Robert Henderson - The Daily Telegraph - November 18, 1992



"The central role of the Empress suits Anna Tomowa-Sintow's technique and professional stature ideally. Her interpretation grew in conviction and persuasiveness as the over four-hour-long opera progressed, until the deeply moving revelations of the scene with the almost stone Emperor.
This epic, beautiful performance is the best thing Tomowa-Sintow has done here.

Tom Sutcliffe - The Guardian - November 18, 1992



"Her voice, in prime condition, fills out the line with a natural amplitude that betokens a wonderful directness of stage personality. I love her uncloying tenderness in the little scene with Barak, and the unmannered nobility of her demeneour in the Trial - the climatic spoken outburst, usually cut, is superbly handled."

Max Lopert - The Financial Times - November 18, 1992



"Anna Tomowa-Sintow's Empress, freezingly beautiful, meltingly expressive in front of her stone husband."

Tom Sutcliff - Opera News - March 13, 1993




- Opéra Marseille -


"Anna Tomowa-Sintow s'est relevée comme la seule Impératrice capable de prendre l'impossible succession de Rysanek. Non seulement elle chante le rôle magnifiquement mais elle réussit à l'humaniser, à le rendre émouvant par une expressivité et une sensibilité difficiles a faire passer dans cet emploi. Bravo!"

M. Barichella - Semaine des Spectacles - October 25, 1995



"Anna Tomowa-Sintow, Impératrice ... impériale: Ses sons filés nous ont rappelé la pureté infaillible de ceux que l'on croyait unique de Montserrat Caballé: son invocation ultime comme sa première prière au Faucon nous ont transporté dans le 'Monde d'En Haute'. Quant à la somptuosité de son medium, elle a donné à l'irréversible 'Je ne veux pas…boire l'eau de la vie…' toute sa pathétique grandeur tragique. Impératrice auréolée de grâce, casquée de blondeur diaphane et gosier de cristal et d'éclat, la diva n'est redescendu sur terre que pour recevoir uns salve de vivats."

Edmée Santy -  Le Provençal - October 20, 1995






The Met Opera Guild - on Anna Tomowa-Sintow's performances of "Aida" at the New York Metropolitan Opera

"The last truly successful Aida in the grand manner was Anna Tomowa-Sintow, who was paired with Pavarotti in his first MET performances as Radames, and a wonderful pair they made. She had the voice, the technique and enough of the style to make a total success of the role."






Klassik Heute - Kurt Malisch - about the Orfeo release of the live recording of "Ariadne auf Naxos" from the Salzburg Festival under Wolfgang Sawallisch

"Literally bathing in the balsam of soprano euphony and unfolding legato lines of endless vigor: Anna Tomowa-Sintow as Ariadne."



Opernwelt, Dec. 2004 - Albrecht Thiemann - about the Orfeo release of the live recording of "Ariadne auf Naxos" from the Salzburg Festival under Wolfgang Sawallisch

"As Ariadne, Anna Tomowa-Sintow reminds us why Herbert von Karajan ranked her among the leading voices of the soprano Fach in his day, and rightly so."






The Met Opera Guild - James C. Fretz - on Anna Tomowa-Sintow and her recording of Korngold's "Das Wunder der Heliane"

"Tomowa-Sintow is breathtaking as Heliane! The aria "Ich ging zu ihm", as sung by Anna Tomowa-Sintow .... I don't know what it is about this aria, but I always get a lump in my throat whenever I hear it."






Der Rosenkavalier - Marschallin

Vienna State Opera





Der Rosenkavalier - Marschallin

Salzburg Summer Festival






Der Rosenkavalier - Marschallin

Metropolitan Opera






Der Rosenkavalier - Marschallin

Salzburg Summer Festival






Der Rosenkavalier - Marschallin

Metropolitan Opera

















Die Frau ohne Schatten - Empress

London - Covent Garden







Die Frau ohne Schatten - Empress
(with Paul Frey)

London - Covent Garden








Die Frau ohne Schatten - Empress

London - Covent Garden



















Die Frau ohne Schatten - Empress

Opera Marseille













Ariadne auf Naxos - Ariadne





35th Stage Anniversary

Anna Tomowa-Sintow celebrated the 35th anniversary of her stage debut with a triumphant concert performance of "AIDA" at the opera in Sofia in September 2001. The performance was attended by leading national and international personalities from the cultural and diplomatic scene. On this occasion Mme Tomowa-Sintow was also awarded the honorary doctor's degree (doctor honoris causa) of the Sofia conservatory.

Le Monde de la Musique, November 2001:


Anna Tomowa-Sintow's voice was for Herbert von Karajan the synonym of light. Here we have 35 years now that this star is shining. Sofia honoured the Bulgarian soprano by offering her the opening night of the season with Aida. Verdi was lucky!

"... What Tomowa-Sintow evokes with her unfailingly supple and luminous soprano voice and her sensual diction is nothing less than eternity itself. What ardor, what power, what mastery in the way she guides the vocal line, gauges the breath of sinuous phrases, dominates the ensembles, caresses the words! Tomowa-Sintow has always known how to make her character vibrate by gently stroking the emotions. She simply draws brightness and light through her stage manner and her smile."

Georges Gad