reviews
Ligeti, Mysteries of the Macabre / ensemble modern / Lothar Zagrosek
...And the vocal masterclass from Claudia Barainsky, this unsurpassed „Gruberova of the Modern“ is unforgettable. (Berliner Morgenpost, Klaus Geitel Mai 2004)
Reinhard Keiser, Octavia / Händelfestspiele Karlsruhe
...Above all, however, Clauida Barainsky... Octavia suffers through one lamentation after another, and that in wonderful, heartbreaking, floating Pianissimo. When it exists, then she has it: The Baroque Coloratura Blues. (SWP, Februar 2004)
Szymanowski-Songs / Axel Bauni / CD from ORFEO
For each and every one of these songs Claudia Barainsky has an immediacy and a natural approach, that is carried through into the finest details. This is apparent even in the complicated six “Songs of the Fairy Princess”. In this, a cycle for coloratura soprano, Claudia Barainsky can really show off what she can do. A fantastic ability in the higher regions, and in the tuning, that in no way come between the superlative interpretation.
(Fono Forum Dezember 1999)
Nono, Ha venido / Carnegie Hall New York / Pollini series
Both the Nono pieces were finely done, but especially „Ha venido“, music at once delectable and intense, fiercely expressive and exact, where the six sopranos of the miniature chorus made their isolated exclamations like points of fire, above and around the sensuous line of the soloist, Claudia Barainsky. (New York Times, 2000)
Schönberg op.10 Kammerkonzert Berliner Philharmonie / Ensemble Oriol
The Oriol Ensemble chose the String Orchestra version, and through the dream scape „die nur umfängt auf fernsten Bergesschlüpfen” we were escorted by the exquisit voice of Clauida Barainsky, student of Aribert Reimann and protaganist in his Opera, fascinated us with Schönberg settings such as "Ich bin ein Funke nur vom heiligen Feuer / Ich bin ein Dröhnen nur der heiligen Stimme“
(Tagesspiegel, 20. September 2001)
Marschner, Hans Heiling / Deutsche Oper Berlin / Christian Thielemann
... the sumptous vocal commitment was fascintating through to the last tone, Claudia Barainsky’s youthful Anna. (Saarbrücker Zeitung, 15. Mai 2001)
Most impressive was the lyrical sound of Claudia Barainsky as Anna. (Frankfurter
Rundschau, 16. Mai 2001)
Mahler 2. Symphonie / NDR, Michael Tilson-Thomas
...with feeling, unobtrusive and intensive was the singing of the solo part by the soprano Claudia Barainsky. (Lübecker Generalanzeiger, 9.4.2002)
Bolschoi Theatre Moscow / Liederabend in Beethoven Saal
......dazzling, Claudia Barainsky with a virtuoso vocal pallette and floridity and with a penetrating and intensive shine to her coloratura voice that she won over not only the conservative public but also the reviewers. (Frankfurter Allgemeine,15.4.2002)
Junge Deutsche Philharmonie / Berg WOZZECK Fragments, Mahler 4.Symphony / Zagrosek
...And then the magical ensemble with Soloist Claudia Barainsky, the goose pimple moment was the bell like and wonderfully clear sound as she sang of the „himmlischen Freuden“ in Mahler’s humorous fourth..... (Hamburger Abendblatt 12.3.2005)
...Claudia Barainsky sang Marie with a distraught innocence with a more bell like soprano than villainous mezzo..... (Die Welt, 10.3.2005)
Beethoven, Missa solemnis, Orchestre des Champps-Elysée, P.Herreweghe
All four soloists were outstanding. Barainsky’s effortless soprano soared angelically, and yet remained wholly human. (Marc Bridle, London, Mai 2005)