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D i e  Z a u b e r f l ö t e /  T h e  M a g i c  F l u t e

16 September 2012

As the Queen of the Night, soprano Emily Hindrichs nailed her first aria, later bringing down the house with her brilliant account of her Act 2 showpiece. Her coloratura flashed like a tiara of fine-cut diamonds.


John von Rhein

16 September 2012

And the Queen of the Night, Louisiana native Emily Hindrichs — despite being a late-game replacement — can sing and act, and knocks the witch’s boots off of anyone heard at Lyric in a long, long time.


Hindrichs eats her two stratospheric numbers like toast and she also gives us a Queen of the Night who makes sense as a character and even draws our sympathy.


Andrew Patner

16 September 2012

As the Queen of the Night Emily Hindrichs was magnificent Saturday. She tackled her two arias with rich tone, terrific verve and fearless bravura, nailing the stratospheric top F’s with bracing attacks and pinpoint accuracy, earning the loudest ovation of the evening.


Lawrence A. Johnson

1 August 2011

Emily Hindrichs's Queen of the Night blazed her way like a comet through the role's high tessitura, putting all those tricky triplets in the second part of "Der Hölle Rache" perfectly in place.


John F. Hulcoop

10 May 2011

On Saturday, Emily Hindrichs' opening phrases revealed a rich, bronzed tone that made me wonder how on earth she would manage her upper register, those notorious piping passages where Mozart takes her a full two octaves higher. But she does, triumphantly, singing them not only with clarion tone but, in the Act 2 cry for revenge, "Der Hölle Rache," suffusing them with all the anger and passion described in the text.


Gavin Borchert

29 January 2009

Equal confidence is shown by Emily Hindrichs, a company newcomer, as Pamina’s mother, the Queen of the Night, who excels both in the celebrated Der Hölle Rache and her less showy, but rather more difficult, Act I aria.


Christopher Gray


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