Ambur Braid set Berlin alight this week, with her visceral and shattering debut as Katerina in Barrie Kosky’s new production of Lady Macbeth of Mtsensk for the Komische Oper. In a career defined by her psychologically vivid portrayals of roles such as Salome, Die Faerberin, and Marie, this further addition to her repertoire was a triumph like no other. Read the press here: 

The performance is carried from the very beginning by the sensational Ambur Braid. — Klassik begeistert

That this evening shines so brightly and marks the highlight of the Berlin season so far, is of course largely due to the first-rate singers… Braid is also a gifted actress who, at times, recalls the great Olivia Colman — often a single wounded or defiant glance is enough to capture a complex situation. — Die Deutsche Bühne

But it was Ambur Braid’s show, and her ferocious Katerina may very well be the thing that catapults her into stardom…It’s a joy to hear the role sung by someone in their vocal prime…and Braid’s soprano has ample power from a piercing upper register down to a zesty chest voice as well as excellent intonation and clean vocal attacks. She’s also a phenomenal actor, fearlessly contorting her body and face to express Katerina’s frustration, clinginess, and cruelty. The stillness she achieves in the final scene is terrifying, with a psychopathic glint in her eye before she explodes in violence. — Parterre Box 

Only Ambur Braid in the title role really gets to sing; she is wonderfully embodied and impassioned. — Financial Times

Ambur Braid is ideally cast in the title role, a shimmering, warm, and colourful soprano voice, and a devoted performance. — Der Opern Freund

Ambur Braid in the title role has steel in her voice, and goes to the limits of expression in her dramatically pointed performance. — BR Klassik

Soprano Ambur Braid captivates with a wide vocal range from dark to glistening, her lascivious-erotic charisma fits perfectly. — BZ Berlin