REVIEWS
ERWARTUNG
(Oper Wuppertal) “Hanna Larissa Naujoks interprets the Woman in Erwartung as a guest with impeccable, expressive singing. Her performance, which gets under your skin, intensifies the musical breaks that Schönberg has inserted into his monodrama full of deep psychological hints.“—
Jochen Rüth
Der Opernfreund, Mai 2024
“Mezzo-soprano Hanna Larissa Naujoks moulds Schönberg's monodrama into a stunning seamless Mad Scene. She is a master of shy, fragile nuances, but her intense outbursts – stammering as she sings, since all her sentences are broken off – seem like an extension of Richard Strauss' Salome.“
—
Anke Demirsoy
Theater pur NRW, April 2024
“Hanna Larissa Naujoks portrays the nameless Woman in Schönberg's Erwartung through a powerful mezzo-soprano with clear top notes. A range of vocal colours depict the Woman's emotional roller-coaster trip.”
—
Thomas Molke
OMM Online Musik Magazin, April 2024
“...The Woman – Hanna Larissa Naujoks with her burning, vibrant mezzo-soprano...“
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Jan Brachmann
Frankfurter Allgemeine Zeitung, April 2024
“Hanna Larissa Naujoks masters the highest demands in the role of The Woman and believably creates a dramatic inner monologue of feelings, memories and premonitions with an excellent, sonorous mezzo-soprano. She always acts convincingly and allows the audience to participate in the suffering and pains of her soul.”
—
Lilo Ingenlath-Gegic
Westdeutsche Zeitung, April 2024
“Not only singing but also speaking and screaming, Hanna Larissa Naujoks as the nameless Woman scales the heights of emotional intensity. With Naujoks' always warmly tempered mezzo timbre and her acting performance, which she has to deliver alone on stage for half an hour, the evening captivates from the very first minute.(..)There is deserved standing applause on the premiere evening, which does not want to end, for the soloists, above all Hanna Larissa Naujoks,...“
—
Sabine Weber
OPERN NEWS, April 2024
“Hanna Larissa Naujoks enters this lonely scene as a tossed woman, as someone already distraught. Her soprano is fantastic, not too highly dramatic, not too lyrically defensive. Her understandability of the text is extraordinary for a female voice, her vocal colouring pleasant, her understanding of the score and her cooperation with the Wuppertal Music Director Patrick Hahn highly enjoyable. And she knows how to act!“
—
Arno Lücker
VAN Magazin, April 2024
DER ROSENKAVALIER
(Opéra Grand Avignon) “Of the three main female roles, it is Hanna Larissa Naujoks' Octavian that impresses the most. Called less than a week before this premiere (...) the German mezzo masters the vocal format of the role without any problem: seductive and warm timbre, homogeneous quality over the entire vocal range and penetrating power where it is needed.“—
Irma Foletti
Première Loge Opera, October 2022
“(...) mezzo-soprano Hanna Larissa Naujoks embodies an enthralling Octavian! Sovereignly projected, the timbre is seductive, the voice very warm, and the character magnificently composed, in a masculine presence that imposes itself.“
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Bertrand Bolognesi
Anaclase, October 2022
“Hanna Larissa Naujoks (...) as Octavian: a revelation. Rich timbre, homogeneous voice, smooth line, here is a Knight of the highest class, not less stylish than passionate.“
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Didier Van Moere
DiaPason, October 2022
“(...) the German mezzo-soprano Hanna Larissa Naujoks takes over as the young Octavian. Despite the short time she had to prepare her role, she is one of the stars of the evening, shining and seducing the audience thanks to a voice that carries and easily overtakes the orchestra. Her timbre rich in overtones serves her convincing and committed performance equally well on stage. She adapts easily to the staging and is at ease with her fellow performers.“
—
Moisés Ordóñez Alarcón
Olyrix, October 2022
“There is reason for enthusiasm also for the Octavian of the German mezzo-soprano Hanna Larissa Naujoks (...). She not only has the physique of Octavian, but also the voice, with a warm timbre and penetrating power.“
—
Emmanuel Andrieu
Opera Online, October 2022
DER ROSENKAVALIER
(Mecklenburgisches Staatstheater Schwerin) „This “Rosenkavalier” in Schwerin is Theaterkunst in a form seldomly achieved. In this tasteful ambiance, the singers unfold something magnificent. “Unfortunately I need very good actors again,” the composer opined, when the piece was premiered. They were here in fortunate multitude and magical staging. Karen Leiber impressed with a powerful, healthy sounding soprano as the Marschallin, as well as Hanna Larissa Naujoks (Octavian) with a voluminous, flexibly led mezzo voice. ... The audience cavorted and stopped with their feet as the artists bowed at the end of the performance.“—
Gaby Helbig
Das Opernglas, June 2019
„Karen Leiber shaped her large role as the Marschallin impressively. Hanna Larissa Naujoks harmonized with her in tone and in presentation as a wonderful Octavian. Her warm, beautiful timbre in her mezzo voice come together strikingly well for this role, which also fit with the clear, fresh voice of soprano Nienke Otten as Sophie. The women’s trio in the last act was one of the musical high points.“
—
Arndt Voß
nmz online, 14. April 2019
ANDREA CHÉNIER
(Mecklenburgisches Staatstheater Schwerin) „Among the many supporting roles, which the theatre cast remarkably overall, Hanna Larissa Naujoks as the unusually lively Bersi with a beautiful mezzo stands out...“—
Arndt Voß
nmz online, 22 January 2019
„Blessed with warm mezzo tones and a lovely timbre, Hanna Larissa Naujoks’ Bersi was both aurally and visually stunning.“
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Gerhard Hoffmann
Online Merker, 19 January 2019
THE CUNNING LITTLE VIXEN
(Theater Koblenz) „Hanna Larissa Naujoks with a full beard looks adorable as both a younger and an older man, and sings brilliantly with clear lightness that opens up into her high notes.“—
Claus Ambrosius
Rhein-Zeitung, 4 March 2018
THE ENGLISH CAT
(Staatsoper Hannover) „The expressive mezzosoprano of Hanna Larissa Naujoks seemed to be made for Babette- Minette`s very down-to-earth sister.“—
Gerhard Eckels
Der Opernfreund, 27 November 2016
LA CLEMENZA DI TITO
(Staatsoper Hannover) „In the same voice type Hanna Larissa Naujoks as Annio was thrilling, too. Her sound is full and golden, yet breezy and agile as well.“—
Günter Heiss
Neue Presse Hannover, 6 June 2016
HÄNSEL UND GRETEL
(Staatsoper Hannover) „In a poor shabby room Dorothea Maria Marx (Gretel) is singing sweetly [...] asking Hansel to do a round dance (Hanna Larissa Naujoks performs and sings this trouser-role excellently).“—
Beate Langenbruch
bachtrack.com, 1 January 2016
GOLD
(Staatsoper Hannover) „Hanna Larissa Naujoks, playing not only the narrator but also all the other parts, does an excellent job. She acts, sings, dances – and captivates her little audience for more than 60 minutes like this. Everything she does is so interesting that even briefly distracted children are quickly drawn back in.“—
Jutta Rinas
Hannoversche Allgemeine Zeitung, 11 March 2015
EUGEN ONEGIN
(Staatstheater Kassel) „Appearing as a guest from Hannover, Hanna Larissa Naujoks was singing the part of Olga with her very flexible mezzosoprano.—
Michael Schäfer
Göttinger Tageblatt, 12 July 2015
A MIDSUMMER NIGHT’S DREAM
(Staatsoper Hannover) „[...] No wonder that Lysander [...] and Hermia, sung by Hanna Larissa Naujoks, enjoy the performance so much. [...] Naujoks’ well-focused mezzo bursts into bloom again and again.“—
Agnes Beckmann, Opernnetz, 29. March 2014
„It was sheer pleasure watching all the confusion into which the two couples of Lysander/Hermia [...] (Hanna Larissa Naujoks with bright mezzo full of character) and Demetrius/Helena [...] are thrown by Puck.“
—
Gerhard Eckels
Der Opernfreund, 2 April 2014
CAVALLERIA RUSTICANA
(Staatsoper Hannover) „The minor parts, too, were impeccable: Hanna Larissa Naujoks as hot-blooded, seductive Lola, [...].“—
Stefan Mauß, Opernglas, Issue 03/2014
„Hanna Larissa Naujoks gave a flirtatious and provoking performance as Lola and underlined with her bright mezzo the scheming aspect of the role.“
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Marion Eckels, Der Opernfreund, 13 January 2014
„With her well-focused mezzo as Lola, Hanna Larissa Naujoks drives Turiddu out of his mind. The singer knows how to behave coquettishly and how to push her rival aside.“
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Agnes Beckmann, Opernnetz, 12 January 2014
„Hanna Larissa Naujoks gives her Lola just the right eroticism and seductiveness.“
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Bernd Stopka
Online Musik Magazin, 12 January 2014
IL VIAGGIO À REIMS
(Staatsoper Hannover) „Hanna Larissa Naujoks sang the Marchesa Melibea with a bright and multifaceted mezzosoprano voice.“—
Gerhard Eckels
Der Opernfreund, 31 December 2012
BORIS GODUNOW
(Pfalztheater Kaiserslautern) „One Hanna Larissa Naujoks, lending brilliance to the part of Tsarevich Feodor. Perfect for a trouser-role, a cultured voice rich in colour.“—
Frank Herkommer
Opernnetz, 12 June 2012
DAS SCHLAUE FÜCHSLEIN
(Pfalztheater Kaiserslautern) „A wonderfully lovable fox as a trouser-role for Hanna Larissa Naujoks, who convinces with her soft and lyrically-coloured voice.“—
Frank Herkommer
Opernnetz, 7 April 2011
LA CENERENTOLA
(Junge Oper Weikersheim) „In particular Rita Matos Alves and Hanna Larissa Naujoks as Clorinda and Tisbe convinced with their voices and propelled the action forward with their acting talents. They performed the baby dolls hunting for men with great wit and sex appeal- Ingrid Steeger and Marilyn Monroe could not have done it better (or with such perfect bel canto).“—
Andreas Kolb
Oper & Tanz Issue 2007/04