Read what the critics had to say about Kirstin's recent performances:
Tristan und Isolde - Oper Wuppertal, 2023
"Die junge Neuseeländisch-britische Sopranistin Kirstin Sharpin hat als Isolde in Nordhausen debutiert. Mit ihrem wunderbar homogenen mädchenhaft schönen perfekt geführten Sopran gestaltet sie die an- und abschwellenden Phrasen sehr differenziert. Sie macht die Entwicklung der Königstochter Isolde deutlich. Zunächst wütend auf Tristan, den sie zu sich zitiert, dann bei der Einnahme des Sühnetranks zu allem entschlossen, verliert auch sie den Boden der Konventionen unter ihren Füßen. Sie stellt jegliche Vorsicht hintenan und lebt nur noch ihre Liebe. Nach dem Eklat findet Isolde, die gekommen ist, Tristan zu pflegen, nur seine Leiche und löst sich in der Schlussszene „Mild und leise, wie er lächelt“, von der Welt. Hier zeigt Kirstin Sharpin, dass sie auch die lyrische Tiefe hat, die Auflösung: „Ertrinken, versinken, unbewusst höchste Lust“, im „Liebestod“ zu feiern. Danach ist erst einmal Totenstille, dann lange anhaltender frenetischer Jubel mit stehenden Ovationen."
The young New Zealand-British soprano Kirstin Sharpin made her debut as Isolde in Nordhausen. With her wonderfully homogeneous, girlishly beautiful, perfectly managed soprano voice, she creates the rising and falling phrases with great differentiation. She makes the development of the king's daughter Isolde clear. Initially furious at Tristan, whom she summons to her, then determined to do anything when she takes the atonement potion, she too loses the ground of convention beneath her feet. She puts all caution to one side and lives only her love. After the scandal, Isolde, who has come to nurse Tristan, finds only his corpse and breaks away from the world in the final scene, "Mildly and quietly, as he smiles". Here Kirstin Sharpin shows that she also has the lyrical depth to celebrate the resolution: "Drowning, sinking, unconsciously supreme pleasure", in "Liebestod". This is followed by dead silence, then long-lasting frenetic cheers and standing ovations.
https://opernmagazin.de/tristan-und-isolde-in-wuppertal-das-orchester-erzaehlt-alles/
"De zangers waren meer dan uitstekend: een prima zingende Samuel Sakker (Tristan) overtuigde volledig, zijn Isolde (Kirstin Sharpin) zelfs nog meer. Haar grote, maar prachtig ronde stemgeluid overstemde het voluit spelende orkest moeiteloos, en ze kroop in alle uithoeken van haar rol, tot ze ermee samenviel.:
The singers were more than excellent: a fine singing Samuel Sakker (Tristan) was completely convincing, his Isolde (Kirstin Sharpin) even more so. Her large but beautifully round voice effortlessly overcame the full orchestra playing, and she delved into every corner of her role until she coincided with it.
https://denieuwemuze.nl/tristan-en-isolde-in-wuppertal-regie-en-muziek-versmelten-tot-het-hogere/
"Dagegen ist Kirstin Sharpin, seine Isolde, sich der Liebe und der daraus resultierenden Konsequenzen desto sicherer. Fragend und zweifelnd erzählt sie das, was bis jetzt geschah im ersten Akt. Strahlend erklärt sie ihre Liebe zu Tristan im zweiten Akt, niemals an den Umständen zweifelnd. Lyrisch und feinfühlend ihre milde und leise Darbietung im letzten Akt."
In contrast, Kirstin Sharpin, his Isolde, is all the more certain about love and its consequences. Questioning and doubting, she recounts what has happened so far happened in the first act. She radiantly declares her love for Tristan in the second act, never doubting the situation. Her mild and quiet performance in the last act was lyrical and sensitive.
- OTon-online
"Kirstin Sharpin, ebenfalls als Gast, war zur Premiere noch erkrankt, musste da ersetzt werden. Man merkte ihr großes stimmliches Potential für die Isolde, aber auch, dass ihre Krankheit noch nicht ganz abgeklungen war. Dennoch bot sie eine kraftvolle und überzeugende Interpretation der Isolde, wenn sie sich auch hätte ansagen lassen sollen."
Kirstin Sharpin, also a guest, was still ill at the premiere and had to be replaced. You could tell that she had great vocal potential for Isolde, but also that her illness had not yet fully subsided. Nevertheless, she gave a powerful and convincing interpretation of Isolde, even if she should have been announced.
https://onlinemerker.com/wuppertal-tristan-und-isolde-neuinszenierung/
Tristan und Isolde - Theater Nordhausen, 2022
"Der Star des Abends ist Kirstin Sharpin als Isolde. Die Sängerin überzeugt mit einem klaren, sicheren, wortverständlichen und geschmeidigen, an den richtigen Stellen kräftigen Stimme; auch in Sachen Mimik und Körpersprache wirkt alles natürlich."
"The star of the evening is Kirstin Sharpin as Isolde. The singer convinces with a clear, secure voice that communicates words clearly and is supple and powerful in the right places; everything also seems natural in terms of facial expressions and body language."
- Monika Beer, Opernwelt https://www.der-theaterverlag.de/opernwelt/aktuelles-heft/artikel/radikal-reduziert/
(Kann auch hier gelesen werden: https://rwv-bamberg.de/2022/02/radikale-reduktion/?fbclid=IwAR3hQiVjKMOjZXX--35JAM9WBF6wTVzHn_HVzhd60n0-qgdaIKXtqUrR8E4 )
"Es ist den beiden Protagonisten… hoch anzurechnen, dass beide am Ende des Abends wenig Anzeichen der Ermüdung nach diesenbekanntlich anstrengenden Partien zeigen. Das hat eher weniger mit derGröße des Hauses als mit gutersängerischer Technik zu tun. Sharpin, in ihrem Rollendebüt als Isolde, bringt einen vollen, kraftvollen Sopran, der sich wunderbar flexibel zeigt und die vielen, komplexen Schattierungen ihrer Persönlichkeit zum Ausdruck bringt. Ihr Liebestod klingt fast mühelos und zeugt von einer innigen, ewig liebenden Geisteshaltung."
"It is to the credit of the two protagonists... that at the end of the evening they both showed few signs of fatigue after these notoriously strenuous roles. This has less to do with the size of the house than with good singing technique. Sharpin, in her role debut as Isolde, brings a full, powerful soprano that is wonderfully flexible and expresses the many, complex shades of her personality. Her Liebestod sounds almost effortless and is a testament to an intimate, ever-loving spirit."
- Zenaida des Aubris, O-Ton online https://o-ton.online/aktuelle_auffuehrung/o-ton-nordhausen-tristan-und-isolde-des-aubris-220213/
"Kirstin Sharpin… ist eine souveräne Isolde. Mit differenziert eingesetzten stimmlichen Mitteln vermittelt sie ohne jegliche Ermüdung die seelischen Abgründe der Rolle zwischen Verzweiflung, Aufbegehren, Liebesrausch und Entsagung. Selbst in exponierten Lagen klingt die Stimme immer kultiviert, niemals schrill."
"Kirstin Sharpin meistert den Schlussgesang der Isolde überzeugend. Es ist weniger ein Liebestod, eher die „Verklärung“ und damit im Sinne Wagners."\
"Kirstin Sharpin... is a sovereign Isolde. With nuanced vocal means she conveys without any fatigue the mental abysses of the role between despair, rebellion, love frenzy and renunciation. Even in exposed registers, the voice always sounds cultivated, never shrill."
"Kirstin Sharpin masters the final song of Isolde convincingly. It is not so much a love-death, more the "transfiguration" and thus in Wagner's sense."
- Michael Rudloff, Der Opernfreund - https://www.deropernfreund.de/nordhausen-6.html
"...wo man doch lieber fasziniert, ergriffen sein will. Das freilich gelingt der formidablen Kirstin Sharpin mit ihrem sagenhaft disziplinierten... hochkompetenten Rollendebüt als Isolde."
"...where one would rather be fascinated, gripped. The formidable Kirstin Sharpin succeeds in this with her fabulously disciplined... highly competent role debut as Isolde."
- Wolfgang Hirsch, Thüringer Allgemeine, 30/1/22
Fidelio - Melbourne Opera, February 2020
“In the title role, rich and velvety soprano Kirstin Sharpin punches high, her Fidelio undaunted by the risks and her vocal expressivity in compelling form. “ - Paul Selar - Melbourne Herald Sun (and blog ‘Operachaser’)
" In the cross-dressing title role, New Zealand soprano Kirstin Sharpin has gentle fun as Rocco and Marzelline try to steamroll ‘Fidelio’ into marriage, before leading the opera’s grim tonal shift. Sharpin’s performance was a fine showcase of dramatic expression and lustrous tone." - Patricia Maunder – Limelight Magazine
“(As Leonore) Kirstin Sharpin brought full, steady tone and dramatic involvement. She sang Leonore’s taxing aria with expressive intensity. Leonore is a substantial role that requires considerable stamina, which Sharpin possesses to a remarkable degree. There was no sense of strain towards the end of the evening; the moment when she revealed her identity and interposed herself between her husband and Pizarro’s knife with Tot’ erst sein Weib! (First kill his wife!) I could quite literally feel my hair standing on end. ….her voice has a spacious resonance and lustre that promises a significant career. Along with an equally impassioned Bradley Daley, she added impressive power to the conclusion of this heroic tale." - Heather Leviston – Classic Melbourne
“After navigating the awkward trouser role of Fidelio, Sharpin joined Daley in revealing the full glory of her rich voice with her transformation into Leonore.” - Elizabeth Kertesz – Australian Book Review
“Sharpin’s vocal work exhibits a luscious richness, and her voice carries beautifully in ensemble singing.” - Simon Parris – Man in the Chair
Der Fliegende Holländer - Longborough Festival Opera, June 2018
"Kirstin Sharpin’s full-throttle, 100%-committed Senta — portrayed as a wide-eyed innocent rather than a man-eating fanatic — easily steals the vocal honours with her big, bright dramatic soprano."
- Hugh Canning, The Sunday Times https://www.thetimes.co.uk/article/classical-review-lohengrin-longborough-festival-opera-aldeburgh-festival-t565t3wqz
"The New Zealander soprano Kirstin Sharpin is Senta, a role horribly difficult to sing. She responded very well indeed to the brutal challenge: hers is a voice fit for heavy duty, and she gives her obsessive ballad all the hysterical intensity it requires, as well as scaling the giddier heights of Act 3 fair and square."
- Rupert Christiansen, The Telegraph https://www.telegraph.co.uk/opera/what-to-see/der-fliegende-hollander-review-longborough-festival-opera-production/
"Everything perked up when we moved to Act Two — no scenery, by the way, just threatening clouds — and Senta’s ballad, sung with superb incisiveness and intensity by Kirstin Sharpin. The climactic duet between her and the Dutchman — she determined to sacrifice herself for him ‘whoever he may be’, he incredulous but half-believing that he has found ‘the Angel’ he has so long sought — was marvellous, magnetic for us as for them."
- Michael Tanner, The Spectator https://www.spectator.co.uk/2018/06/longborough-continues-to-be-a-refuge-for-british-wagnerians-fleeing-idiotic-productions/
"The third, a soprano, was making her Wagnerian stage debut. As Senta, the opera's biggest and most emotionally demanding role, Kirstin Sharpin combined the power and control of a true dramatic soprano with vocal grace and beauty under pressure. She sang tirelessly and magnificently, and I'd sail the seven seas to hear her again."
- Mark Valencia, Whats On Stage https://www.whatsonstage.com/birmingham-theatre/reviews/review-der-fliegende-hollnder-the-flying-dutchman-_46782.html
"Kirstin Sharpin...gives a storming performance...her eyes blazing as fiercely as her fortissimo top notes."
-Richard Morrison, The Times https://www.thetimes.co.uk/article/opera-review-der-fliegende-hollaender-at-longborough-sggkr0qkp
"Kirstin Sharpin, already noted for her concert appearances in his early operas with Chelsea Opera Group, was performing her first fully staged Wagner role. With a glinting voice of a youthful sheen, like bracing Nordic air, she was entirely convincing as the obsessed dreamer, Senta. She paced herself well and managed those climactic descending phrases at the end of the “Wie aus der Ferne” duet skilfully where better known names have come to grief."
- John Johnston, Bachtrack https://bachtrack.com/review-fliegende-hollander-guthrie-negus-sharpin-longborough-festival-opera-june-2018
"As Senta, Kirstin Sharpin’s soprano glistens as it can be imbued with the utmost sensitivity or the greatest passion and strength"
- Sam Smith, Music OMH https://www.musicomh.com/classical/reviews-classical/der-fliegende-hollander-longborough-festival-opera-longborough
"For me, the ultimate star of the evening was Kirstin Sharpin, who was simply astounding as Senta, conveying with her acting and her singing the strength and feistiness of the character, the attraction of the mystical and the mythical for her, as well as Senta’s allure and beauty. Her voice is stunning, with a clean and laser-like cutting edge allied to the warmth of sound. She is utterly secure musically and a fine actress as well. She has total control of all her vocal and dramatic means, and some of her high-note pianissimi were breathtaking. Hers was a performance of beauty in every aspect. This is going to be a career to watch."
- Mel Cooper, Plays to See https://playstosee.com/der-fliegende-hollander-2/
"Hers was an intense interpretation and Sharpin believably often appeared utterly possessed by her character’s innermost thoughts and feelings."
- Seen and Heard International http://seenandheard-international.com/2018/06/anthony-neguss-conducting-allows-longboroughs-der-fliegende-hollander-to-conquer-high-seas/
"Kirstin Sharpin is a radiant, fresh-voiced Senta"
- Stephen Walsh, The Arts Desk https://theartsdesk.com/opera/der-fliegende-holl%C3%A4nder-longborough-festival-review-stand-and-deliver-empty-stage
"After this compelling Act I the gentle Summ’ und Brumm’ of the spinning maids in Daland’s house contrasts beautifully with the visceral passion shown by Kirstin Sharpin as Senta, making her Longborough debut, her duet with the Dutchman showing a gripping intensity....in this production Senta’s determination to remain faithful unto death is clearly accomplished, and the final moments are tremendously moving....As good a production of Dutchman as I ever remember seeing, with outstanding performances by Simon Thorpe and Kirstin Sharpin. Winner of the Wagner Voices competition at Karlsruhe in 2015 and a compelling Leonore at Buxton in 2016, Ms Sharpin showed such power and commitment that we may all expect to hear more of her in future Wagner roles."
- Mark Ronan http://www.markronan.com/2018/06/der-fliegende-hollander-longborough-festival-opera-lfo-june-2018/
"Kirstin Sharpin flings out sensational high notes as if there is no tomorrow"
-Peter Reed, Classical Source http://www.classicalsource.com/db_control/db_concert_review.php?id=15514
Libuše, University College Opera March 2019
"But the cast was regularly impressive, most of all in the clear and vital singing of the title role by the soprano Kirstin Sharpin, which exactly matched the score's Wagnerian tendencies while also giving further notice of this singer's exceptional potential in the vocal category for which she seems destined."
George Hall, 'Opera' June 2019
"Sharpin’s ample dramatic soprano cuts through the textures of Smetana’s orchestration with ease"
Anna Picard, The Times www.thetimes.co.uk/article/review-libuse-at-the-bloomsbury-theatre-wc1-2qpqqlmzz
"Kirstin Sharpin sang with glowing dignity in the title role"
Richard Bratby, The Spectator https://www.spectator.co.uk/2019/03/the-most-glorious-singing-anyone-born-after-1970-will-ever-have-heard-la-forza-del-destino-reviewed
"Kirstin Sharpin's performance in the title role is a particular highlight, her full-bodied tone easily smoothing away the rough edges of the setting"
Guy Dammann, Times Literary Supplement
"Kirstin Sharpin found imperiousness but also humanity in the title-role; a rounded and empathetic portrayal abetted by her vocal eloquence – not least in the prophecy of fraught yet glorious times ahead for the Czech nation that forms an apotheosis of truly Wagnerian grandeur. "
- Richard Whitehouse, https://arcana.fm/
Kirstin Sharpin created a beautiful stage presence and strong vocal line as Libuše herself"
- Mark Ronan, http://www.markronan.com
The cast should also be congratulated for their mastery of the Czech language. The diction was clear and fluency maintained throughout... Sharpin's soprano was breathtaking"
- Sophie Parker, http://www.savageonline.co.uk
"Stirring #Libuse @UCOpera in enterprisingly timeless setting led by @orpheus_chick, (Kirstin Sharpin) in resplendent regal performance."
- John Johnston
"Fine central performance from the heroic @orpheus_chick, Kirstin Sharpin, gleamingly firm and warm."
- Yehuda Shapiro
Leonore - Buxton Festival, July 2016
"Kirstin Sharpin was an eloquent and compelling Leonore" - Rupert Christiansen, The Telegraph 'Leonore' July 2016
"Sharpin’s voice, boyish and bright in the earlier acts, opens out thrillingly in the high drama of the dungeon scenes." - Richard Bratby, The Spectator
Idomeneo - Blackheath Halls Opera, July 2015
"It was Kirstin Sharpin’s powerfully sung Electra who raised the dramatic temperature with her contained fury and, at her final mental collapse, maniacal, cackling coloratura. Thrilling." - Hugh Canning, The Sunday Times
Die Feen - Queen Elizabeth Hall, London
"sounding and looking like the half-supernatural, half-mortal being who...captivates everyone who meets and hears her." - Opera Magazine, 'Die Feen' May 2013
"a performance characterised by precision, stamina and exceptional phrasing" - Music OMH
"The luminous warmth enveloping her dramatic-soprano strength will make Sharpin a fabulous Straussian" - The Arts Desk
"laser-bright and well-nigh indefatigable" - The Times 'Die Feen'
"Kirstin Sharpin was a revelation in the central role of Ada" - Intermezzo
"Die junge Neuseeländisch-britische Sopranistin Kirstin Sharpin hat als Isolde in Nordhausen debutiert. Mit ihrem wunderbar homogenen mädchenhaft schönen perfekt geführten Sopran gestaltet sie die an- und abschwellenden Phrasen sehr differenziert. Sie macht die Entwicklung der Königstochter Isolde deutlich. Zunächst wütend auf Tristan, den sie zu sich zitiert, dann bei der Einnahme des Sühnetranks zu allem entschlossen, verliert auch sie den Boden der Konventionen unter ihren Füßen. Sie stellt jegliche Vorsicht hintenan und lebt nur noch ihre Liebe. Nach dem Eklat findet Isolde, die gekommen ist, Tristan zu pflegen, nur seine Leiche und löst sich in der Schlussszene „Mild und leise, wie er lächelt“, von der Welt. Hier zeigt Kirstin Sharpin, dass sie auch die lyrische Tiefe hat, die Auflösung: „Ertrinken, versinken, unbewusst höchste Lust“, im „Liebestod“ zu feiern. Danach ist erst einmal Totenstille, dann lange anhaltender frenetischer Jubel mit stehenden Ovationen."
The young New Zealand-British soprano Kirstin Sharpin made her debut as Isolde in Nordhausen. With her wonderfully homogeneous, girlishly beautiful, perfectly managed soprano voice, she creates the rising and falling phrases with great differentiation. She makes the development of the king's daughter Isolde clear. Initially furious at Tristan, whom she summons to her, then determined to do anything when she takes the atonement potion, she too loses the ground of convention beneath her feet. She puts all caution to one side and lives only her love. After the scandal, Isolde, who has come to nurse Tristan, finds only his corpse and breaks away from the world in the final scene, "Mildly and quietly, as he smiles". Here Kirstin Sharpin shows that she also has the lyrical depth to celebrate the resolution: "Drowning, sinking, unconsciously supreme pleasure", in "Liebestod". This is followed by dead silence, then long-lasting frenetic cheers and standing ovations.
https://opernmagazin.de/tristan-und-isolde-in-wuppertal-das-orchester-erzaehlt-alles/
"De zangers waren meer dan uitstekend: een prima zingende Samuel Sakker (Tristan) overtuigde volledig, zijn Isolde (Kirstin Sharpin) zelfs nog meer. Haar grote, maar prachtig ronde stemgeluid overstemde het voluit spelende orkest moeiteloos, en ze kroop in alle uithoeken van haar rol, tot ze ermee samenviel.:
The singers were more than excellent: a fine singing Samuel Sakker (Tristan) was completely convincing, his Isolde (Kirstin Sharpin) even more so. Her large but beautifully round voice effortlessly overcame the full orchestra playing, and she delved into every corner of her role until she coincided with it.
https://denieuwemuze.nl/tristan-en-isolde-in-wuppertal-regie-en-muziek-versmelten-tot-het-hogere/
"Dagegen ist Kirstin Sharpin, seine Isolde, sich der Liebe und der daraus resultierenden Konsequenzen desto sicherer. Fragend und zweifelnd erzählt sie das, was bis jetzt geschah im ersten Akt. Strahlend erklärt sie ihre Liebe zu Tristan im zweiten Akt, niemals an den Umständen zweifelnd. Lyrisch und feinfühlend ihre milde und leise Darbietung im letzten Akt."
In contrast, Kirstin Sharpin, his Isolde, is all the more certain about love and its consequences. Questioning and doubting, she recounts what has happened so far happened in the first act. She radiantly declares her love for Tristan in the second act, never doubting the situation. Her mild and quiet performance in the last act was lyrical and sensitive.
- OTon-online
"Kirstin Sharpin, ebenfalls als Gast, war zur Premiere noch erkrankt, musste da ersetzt werden. Man merkte ihr großes stimmliches Potential für die Isolde, aber auch, dass ihre Krankheit noch nicht ganz abgeklungen war. Dennoch bot sie eine kraftvolle und überzeugende Interpretation der Isolde, wenn sie sich auch hätte ansagen lassen sollen."
Kirstin Sharpin, also a guest, was still ill at the premiere and had to be replaced. You could tell that she had great vocal potential for Isolde, but also that her illness had not yet fully subsided. Nevertheless, she gave a powerful and convincing interpretation of Isolde, even if she should have been announced.
https://onlinemerker.com/wuppertal-tristan-und-isolde-neuinszenierung/
Tristan und Isolde - Theater Nordhausen, 2022
"Der Star des Abends ist Kirstin Sharpin als Isolde. Die Sängerin überzeugt mit einem klaren, sicheren, wortverständlichen und geschmeidigen, an den richtigen Stellen kräftigen Stimme; auch in Sachen Mimik und Körpersprache wirkt alles natürlich."
"The star of the evening is Kirstin Sharpin as Isolde. The singer convinces with a clear, secure voice that communicates words clearly and is supple and powerful in the right places; everything also seems natural in terms of facial expressions and body language."
- Monika Beer, Opernwelt https://www.der-theaterverlag.de/opernwelt/aktuelles-heft/artikel/radikal-reduziert/
(Kann auch hier gelesen werden: https://rwv-bamberg.de/2022/02/radikale-reduktion/?fbclid=IwAR3hQiVjKMOjZXX--35JAM9WBF6wTVzHn_HVzhd60n0-qgdaIKXtqUrR8E4 )
"Es ist den beiden Protagonisten… hoch anzurechnen, dass beide am Ende des Abends wenig Anzeichen der Ermüdung nach diesenbekanntlich anstrengenden Partien zeigen. Das hat eher weniger mit derGröße des Hauses als mit gutersängerischer Technik zu tun. Sharpin, in ihrem Rollendebüt als Isolde, bringt einen vollen, kraftvollen Sopran, der sich wunderbar flexibel zeigt und die vielen, komplexen Schattierungen ihrer Persönlichkeit zum Ausdruck bringt. Ihr Liebestod klingt fast mühelos und zeugt von einer innigen, ewig liebenden Geisteshaltung."
"It is to the credit of the two protagonists... that at the end of the evening they both showed few signs of fatigue after these notoriously strenuous roles. This has less to do with the size of the house than with good singing technique. Sharpin, in her role debut as Isolde, brings a full, powerful soprano that is wonderfully flexible and expresses the many, complex shades of her personality. Her Liebestod sounds almost effortless and is a testament to an intimate, ever-loving spirit."
- Zenaida des Aubris, O-Ton online https://o-ton.online/aktuelle_auffuehrung/o-ton-nordhausen-tristan-und-isolde-des-aubris-220213/
"Kirstin Sharpin… ist eine souveräne Isolde. Mit differenziert eingesetzten stimmlichen Mitteln vermittelt sie ohne jegliche Ermüdung die seelischen Abgründe der Rolle zwischen Verzweiflung, Aufbegehren, Liebesrausch und Entsagung. Selbst in exponierten Lagen klingt die Stimme immer kultiviert, niemals schrill."
"Kirstin Sharpin meistert den Schlussgesang der Isolde überzeugend. Es ist weniger ein Liebestod, eher die „Verklärung“ und damit im Sinne Wagners."\
"Kirstin Sharpin... is a sovereign Isolde. With nuanced vocal means she conveys without any fatigue the mental abysses of the role between despair, rebellion, love frenzy and renunciation. Even in exposed registers, the voice always sounds cultivated, never shrill."
"Kirstin Sharpin masters the final song of Isolde convincingly. It is not so much a love-death, more the "transfiguration" and thus in Wagner's sense."
- Michael Rudloff, Der Opernfreund - https://www.deropernfreund.de/nordhausen-6.html
"...wo man doch lieber fasziniert, ergriffen sein will. Das freilich gelingt der formidablen Kirstin Sharpin mit ihrem sagenhaft disziplinierten... hochkompetenten Rollendebüt als Isolde."
"...where one would rather be fascinated, gripped. The formidable Kirstin Sharpin succeeds in this with her fabulously disciplined... highly competent role debut as Isolde."
- Wolfgang Hirsch, Thüringer Allgemeine, 30/1/22
Fidelio - Melbourne Opera, February 2020
“In the title role, rich and velvety soprano Kirstin Sharpin punches high, her Fidelio undaunted by the risks and her vocal expressivity in compelling form. “ - Paul Selar - Melbourne Herald Sun (and blog ‘Operachaser’)
" In the cross-dressing title role, New Zealand soprano Kirstin Sharpin has gentle fun as Rocco and Marzelline try to steamroll ‘Fidelio’ into marriage, before leading the opera’s grim tonal shift. Sharpin’s performance was a fine showcase of dramatic expression and lustrous tone." - Patricia Maunder – Limelight Magazine
“(As Leonore) Kirstin Sharpin brought full, steady tone and dramatic involvement. She sang Leonore’s taxing aria with expressive intensity. Leonore is a substantial role that requires considerable stamina, which Sharpin possesses to a remarkable degree. There was no sense of strain towards the end of the evening; the moment when she revealed her identity and interposed herself between her husband and Pizarro’s knife with Tot’ erst sein Weib! (First kill his wife!) I could quite literally feel my hair standing on end. ….her voice has a spacious resonance and lustre that promises a significant career. Along with an equally impassioned Bradley Daley, she added impressive power to the conclusion of this heroic tale." - Heather Leviston – Classic Melbourne
“After navigating the awkward trouser role of Fidelio, Sharpin joined Daley in revealing the full glory of her rich voice with her transformation into Leonore.” - Elizabeth Kertesz – Australian Book Review
“Sharpin’s vocal work exhibits a luscious richness, and her voice carries beautifully in ensemble singing.” - Simon Parris – Man in the Chair
Der Fliegende Holländer - Longborough Festival Opera, June 2018
"Kirstin Sharpin’s full-throttle, 100%-committed Senta — portrayed as a wide-eyed innocent rather than a man-eating fanatic — easily steals the vocal honours with her big, bright dramatic soprano."
- Hugh Canning, The Sunday Times https://www.thetimes.co.uk/article/classical-review-lohengrin-longborough-festival-opera-aldeburgh-festival-t565t3wqz
"The New Zealander soprano Kirstin Sharpin is Senta, a role horribly difficult to sing. She responded very well indeed to the brutal challenge: hers is a voice fit for heavy duty, and she gives her obsessive ballad all the hysterical intensity it requires, as well as scaling the giddier heights of Act 3 fair and square."
- Rupert Christiansen, The Telegraph https://www.telegraph.co.uk/opera/what-to-see/der-fliegende-hollander-review-longborough-festival-opera-production/
"Everything perked up when we moved to Act Two — no scenery, by the way, just threatening clouds — and Senta’s ballad, sung with superb incisiveness and intensity by Kirstin Sharpin. The climactic duet between her and the Dutchman — she determined to sacrifice herself for him ‘whoever he may be’, he incredulous but half-believing that he has found ‘the Angel’ he has so long sought — was marvellous, magnetic for us as for them."
- Michael Tanner, The Spectator https://www.spectator.co.uk/2018/06/longborough-continues-to-be-a-refuge-for-british-wagnerians-fleeing-idiotic-productions/
"The third, a soprano, was making her Wagnerian stage debut. As Senta, the opera's biggest and most emotionally demanding role, Kirstin Sharpin combined the power and control of a true dramatic soprano with vocal grace and beauty under pressure. She sang tirelessly and magnificently, and I'd sail the seven seas to hear her again."
- Mark Valencia, Whats On Stage https://www.whatsonstage.com/birmingham-theatre/reviews/review-der-fliegende-hollnder-the-flying-dutchman-_46782.html
"Kirstin Sharpin...gives a storming performance...her eyes blazing as fiercely as her fortissimo top notes."
-Richard Morrison, The Times https://www.thetimes.co.uk/article/opera-review-der-fliegende-hollaender-at-longborough-sggkr0qkp
"Kirstin Sharpin, already noted for her concert appearances in his early operas with Chelsea Opera Group, was performing her first fully staged Wagner role. With a glinting voice of a youthful sheen, like bracing Nordic air, she was entirely convincing as the obsessed dreamer, Senta. She paced herself well and managed those climactic descending phrases at the end of the “Wie aus der Ferne” duet skilfully where better known names have come to grief."
- John Johnston, Bachtrack https://bachtrack.com/review-fliegende-hollander-guthrie-negus-sharpin-longborough-festival-opera-june-2018
"As Senta, Kirstin Sharpin’s soprano glistens as it can be imbued with the utmost sensitivity or the greatest passion and strength"
- Sam Smith, Music OMH https://www.musicomh.com/classical/reviews-classical/der-fliegende-hollander-longborough-festival-opera-longborough
"For me, the ultimate star of the evening was Kirstin Sharpin, who was simply astounding as Senta, conveying with her acting and her singing the strength and feistiness of the character, the attraction of the mystical and the mythical for her, as well as Senta’s allure and beauty. Her voice is stunning, with a clean and laser-like cutting edge allied to the warmth of sound. She is utterly secure musically and a fine actress as well. She has total control of all her vocal and dramatic means, and some of her high-note pianissimi were breathtaking. Hers was a performance of beauty in every aspect. This is going to be a career to watch."
- Mel Cooper, Plays to See https://playstosee.com/der-fliegende-hollander-2/
"Hers was an intense interpretation and Sharpin believably often appeared utterly possessed by her character’s innermost thoughts and feelings."
- Seen and Heard International http://seenandheard-international.com/2018/06/anthony-neguss-conducting-allows-longboroughs-der-fliegende-hollander-to-conquer-high-seas/
"Kirstin Sharpin is a radiant, fresh-voiced Senta"
- Stephen Walsh, The Arts Desk https://theartsdesk.com/opera/der-fliegende-holl%C3%A4nder-longborough-festival-review-stand-and-deliver-empty-stage
"After this compelling Act I the gentle Summ’ und Brumm’ of the spinning maids in Daland’s house contrasts beautifully with the visceral passion shown by Kirstin Sharpin as Senta, making her Longborough debut, her duet with the Dutchman showing a gripping intensity....in this production Senta’s determination to remain faithful unto death is clearly accomplished, and the final moments are tremendously moving....As good a production of Dutchman as I ever remember seeing, with outstanding performances by Simon Thorpe and Kirstin Sharpin. Winner of the Wagner Voices competition at Karlsruhe in 2015 and a compelling Leonore at Buxton in 2016, Ms Sharpin showed such power and commitment that we may all expect to hear more of her in future Wagner roles."
- Mark Ronan http://www.markronan.com/2018/06/der-fliegende-hollander-longborough-festival-opera-lfo-june-2018/
"Kirstin Sharpin flings out sensational high notes as if there is no tomorrow"
-Peter Reed, Classical Source http://www.classicalsource.com/db_control/db_concert_review.php?id=15514
Libuše, University College Opera March 2019
"But the cast was regularly impressive, most of all in the clear and vital singing of the title role by the soprano Kirstin Sharpin, which exactly matched the score's Wagnerian tendencies while also giving further notice of this singer's exceptional potential in the vocal category for which she seems destined."
George Hall, 'Opera' June 2019
"Sharpin’s ample dramatic soprano cuts through the textures of Smetana’s orchestration with ease"
Anna Picard, The Times www.thetimes.co.uk/article/review-libuse-at-the-bloomsbury-theatre-wc1-2qpqqlmzz
"Kirstin Sharpin sang with glowing dignity in the title role"
Richard Bratby, The Spectator https://www.spectator.co.uk/2019/03/the-most-glorious-singing-anyone-born-after-1970-will-ever-have-heard-la-forza-del-destino-reviewed
"Kirstin Sharpin's performance in the title role is a particular highlight, her full-bodied tone easily smoothing away the rough edges of the setting"
Guy Dammann, Times Literary Supplement
"Kirstin Sharpin found imperiousness but also humanity in the title-role; a rounded and empathetic portrayal abetted by her vocal eloquence – not least in the prophecy of fraught yet glorious times ahead for the Czech nation that forms an apotheosis of truly Wagnerian grandeur. "
- Richard Whitehouse, https://arcana.fm/
Kirstin Sharpin created a beautiful stage presence and strong vocal line as Libuše herself"
- Mark Ronan, http://www.markronan.com
The cast should also be congratulated for their mastery of the Czech language. The diction was clear and fluency maintained throughout... Sharpin's soprano was breathtaking"
- Sophie Parker, http://www.savageonline.co.uk
"Stirring #Libuse @UCOpera in enterprisingly timeless setting led by @orpheus_chick, (Kirstin Sharpin) in resplendent regal performance."
- John Johnston
"Fine central performance from the heroic @orpheus_chick, Kirstin Sharpin, gleamingly firm and warm."
- Yehuda Shapiro
Leonore - Buxton Festival, July 2016
"Kirstin Sharpin was an eloquent and compelling Leonore" - Rupert Christiansen, The Telegraph 'Leonore' July 2016
"Sharpin’s voice, boyish and bright in the earlier acts, opens out thrillingly in the high drama of the dungeon scenes." - Richard Bratby, The Spectator
Idomeneo - Blackheath Halls Opera, July 2015
"It was Kirstin Sharpin’s powerfully sung Electra who raised the dramatic temperature with her contained fury and, at her final mental collapse, maniacal, cackling coloratura. Thrilling." - Hugh Canning, The Sunday Times
Die Feen - Queen Elizabeth Hall, London
"sounding and looking like the half-supernatural, half-mortal being who...captivates everyone who meets and hears her." - Opera Magazine, 'Die Feen' May 2013
"a performance characterised by precision, stamina and exceptional phrasing" - Music OMH
"The luminous warmth enveloping her dramatic-soprano strength will make Sharpin a fabulous Straussian" - The Arts Desk
"laser-bright and well-nigh indefatigable" - The Times 'Die Feen'
"Kirstin Sharpin was a revelation in the central role of Ada" - Intermezzo