Press

codalario.com la Revista de Músic Clásica

Kristian Cser (Don Pizarro) entró en escena con la difícil aria Ha! Welch’ ein Augenblick! en la cual consiguió mantener un timbre y una sonoridad homogéneos a pesar del amplio registro de la pieza.  

Die Deutsche Bühne, 2018 February

"Auch Fricka und der Rest des Ensembles überzeugen – allen voran der Wotan des aus Budapest stammenden Krisztián Cser. Absolut preisverdächtig ist seine Sängerdarstellung in allen Facetten: Mit lupenreiner Intonation, tollem Textverständnis und gesunder Klangfarbe durch alle Register gibt er einen Wotan, der kein gebrochener alter Mann ist, sondern eher der junge Idealist, sich der Tragweite seiner Verfehlungen längst nicht bewusst ist und seine Fricka ebenso aufrichtig liebt wie alles, was ihm jung und schön in die Finger kommt. So sind sie halt, die Männer."

link


 

Neue Musikzeitung, 2018 February

"Und was für eine Sängerbesetzung Chemnitz da aufbieten konnte! Ein solch smarter Wotan wie der Ungar Krisztián Cser dürfte schwer zu finden sein. Nobel in der Stimmführung und elegant in seinem Spiel, da verwunderte allenfalls, dass der Göttervater gemeinsam mit Gattin Fricka zu spät zur Premiere erschienen ist. Während das Vorspiel sich schon entfaltet, suchen die zwei (scheinbar) ihre Plätze – und finden sie auf der Bühne, um erst einmal als Zaungäste den Rheintöchtern und Alberichs Goldraub beizuwohnen. Was Wotan, geschäftsmäßig im blauen Anzug, nicht sehr zu interessieren scheint. Denn er lebt in einer anderen Welt..."

link


 

Opera Today, 2017. May

"Bass Krisztián Cser was a striking portrait of steely repressed emotion allied with an almost unwelcome recognition of power - ‘You see the extent of my Kingdom’ - and of his own capacity for violent domination. There were hints of vulnerability too: ‘Judith, Judith’ Cser cried, accompanied by a lovely cello solo, and at times the warm horns suggested heart-feeling submerged and suppressed."

                                                                                                                            link


 

TheArtsdesk, 2017. May

"True bass Krisztián Cser (pictured above by Hermann Peter) as Bluebeard was at his best in the story-telling episode when he tells Judith about his previous wives. The two soloists both gave authenticity, understanding and constant fresh insights into the bleak technicolour of Duke Bluebeard’s Castle. Unforgettable."

                                                                                                                          link


 

Bachtrack, 2017. May

"Bluebeard himself was sung with composure, detailed characterisation and sonorous richness by bass Krisztián Cser – very much a singer who on this basis I would travel to Budapest to hear again."

                                                                                                                            link


     

The Guardian, 2017. May

"...to Krisztián Cser, whose deep, velvety bass oozed sinister tenderness and Freudian confusion in the title role. "

                                                                                                                           link


 

Bachtrack, 2016. May

"Sarastro was sung by the imposing bass Krisztián Cser - I say imposing, but his “O Isis und Osiris” was sung out of sight, and it was only when he gave a rich “In diesen heil'gen Hallen” that it was clear how much this distortion affected his voice. With a fine range and splendidly authoritative diction that befitted the enlightened priest, Cser also had an appealing stage presence and a touch of humour about him. "

                                                                                                                              link


               

The Gaurdian, 2016. May

"Cser combines nobility of utterance with great warmth,"

                                                                                                                               link


 

Der Neue Merker, 2015. November

"Sehr wortdeutlich gestaltet Krisztián Cser den Fasolt mit klangvollem Bass.
Es gelang ihm mt dieser Rolle an diesem Abend ein musikalischer Hattrick.
Noch am Vormittag hatte er in zwei ungarischen Opern jeweils die Hauptrolle
gesungen. In Vajdas "Mário és a varázsló" den Magier Cipolla und in Bartoks
"A kékszakállu herceg vára" den Blaubart. Und nun gesellte sich mit dem
Fasolt die dritte große Rolle zu diesem Hattrick, der wohl ins Guinness Buch
der Rekorde Eingang finden könnte. Seine eindringlichen Mahnungen an Wotan
gelangen so zu einer der intensivsten Szenen des Abends."

link


 

Opera Now, 2014 March

„Cser is a gorgeous bass, his vocal warmth outclassing the rest of the cast.”

Full critique can be downloaded here in PDF


seenandheard-international.com, 25th January, 2014.

"bass Krisztián Cser, the most satisfying and best characterised in a pretty marvellous cast overall"

Full critique can be downloaded here


Paris Normandie.fr

„…With his fine Magyar, and the baritone voice that straight out of the darkness of Perrault, Krisztian Cser superbly manages to pass the inexorable curse of this passion that makes the stones weep!...”

Full critique can be downloaded here


Opera magazine, January 2014.

"The most striking intervention was that of the bass Krisztián Cser, playing the great Lajos Kossuth with sculpted-voice authority, and speaking the character’s mind in words taken from Kossuth’s own letters after the Tiszaeszlár Affair"


Fidelio Magazin, 20th May 2013. 

"Krisztián Cser in the role of Truffaldin gained attention with his sonorous bass voice. A small part, big interpretation."

Full critique can be downloaded here


Nyugat.hu, 25th February 2013. 

"The most memorable and moving interpretation of all was the Coat aria sung by Krisztián Cser (bass). I couldn’t help crying."

Full critique can be downloaded here


Opera Now, 2013

"Another young singer to watch is baritone Krisztián Cser whose rich, dark tone was perfect for the scoundrel Cillei." 

Full critique can be downloaded here in PDF


Fidelio Magazin, 13th December 2012. 

"The dramatic tension by Siegfried’s arrival was raised from the beginning by the presence of the strong, sonorous voice and commanding acting of Krisztián Cser" (Ádám Ignácz )

Full critique can be downloaded here


Muzsika, June 2012.

"The simple though suggestive character of the power-mad and cruel Valens was an outstanding accomplishment and the technical difficulties of the coloratures never disrupted the unity of tone and music." (János Malina)


Café Momus, January 2011.

"Krisztián Cser’ performance was exemplary. Not only his beautiful, deep bass voice but his excellent, expressive acting made the audience laugh in the only witty scene." 


Demokrata, 2010.

"The auditorium was filled with his (Krisztián Cser’s) warm, bright voice as Ferrando, he is sure to have a wonderful career ahead." (Péter Spangel)

 


Kultura.hu, 2009. február 4.

“Krisztián Cser also excelled at his play and made the audience laugh in the only ingeniously realized scene. His has a very nice bass tone, not only his play but his singing was expressive.” (Éva Mikes)


4th issue of Zenekar

“Whose performance should be remembered is Krisztián Cser. As being always significant and dynamic, he makes the overall sound more beautiful and interesting.”

 
 

DAILY QUOTATIONS

Krisztián Cser's  performance of high standard is always meaningful together with vocal clarity, beautiful timbre and great style.

 
 
 
 

Quote of the day

Bluebeard himself was sung with composure, detailed characterisation and sonorous richness by bass Krisztián Cser – very much a singer who on this basis I would travel to Budapest to hear again.

Bachtrack, 2017. May