Press

….The effect when the angel first appears is magnificent: in the colorful, sparkling costume of a praying mantis, with a huge projection of a real specimen above it. And then the soprano voice of Beate Ritter! Not quite of this world, and yet with a humanly appealing warmth, beautiful. A magical, very touching moment, precisely timed with the music, which unfolds all its iridescent beauty here….

nachtkritik.de, 12.06.2023

… In keeping with the focus of the piece, it was also an evening for the other ladies. Beate Ritter, who had such a glorious ensemble debut with her Gilda, showed as Zerbinetta what could already be guessed at in Verdi: a completely free, even in the most insane peaks of the great aria “Großmächtige Prinzessin” playfully light and not touching any limits of extreme height. Coupled with her foundation, which is quite broad for a coloratura soprano, and the associated lush possibilities beyond virtuoso singing, her interpretation, fed by appropriate playful whimsy, irony, wit and clear articulation, proves to be as inspiringly seductive as it is disarmingly self-confident. …

onlinemerker.com, 22.06.2019

…Another special discovery is the highly talented Austrian coloratura soprano Beate Ritter as the sensitive Gilda, endowed with fine coloratura…
…In Gilda’s aria “Caro nome”, Beate Ritter succeeds excellently in showing how a young girl loses herself in dreamy reflections on the name of her beloved…
… His outcry “Ah, the curse” dissolves eerily into a harmonic half-closure from E flat minor to D flat minor. The way Beate Ritter as Gilda transforms minor into major is also extremely touching. However, nowhere in the production is the mask-like aspect of the characters exaggerated…”

Online Merker, 28.11., Alexander Walther

Beate Ritter, the young Upper Austrian soprano, made her role debut as Musette. The initially capricious, over-excited, bitchy suburban diva, who later reacted so gently and compassionately due to Mimi’s illness, received the appropriate attention and credibility during her performance. Her coloratura soprano voice, with its secure high register and good lyrical base, also met the vocal requirements perfectly.

– Online Merker, 12.04., Udo Klebes

Beate Ritter was back on stage as Olympia, and anyone who thought that her brilliant performance at the premiere could hardly be surpassed was wrong: this evening there was even more freestyle coloratura, even more puppetry – you can hardly experience Olympia any better than in the opera house on the Gürtel, and you couldn’t wish for a better “warm-up” as a foretaste of the other acts (of which five were given).

– Bachtrack.com, 23.4., “SNAPDRAGON”