ANKEBERNDT

...led by Kammersängerin Anke Berndt as the daughter of the Indian god Indra. What she has to 'carry away' vocally as the central figure of the work is enormous. And how Anke Berndt does it, how she masters the role with apparent ease, demands utmost respect.

Mitteldeutsche Zeitung, Andreas Montag

However, two artists certainly have the greatest share in the success of the tension of the evening: the acting chief conductor Michael Wendeberg and the KS Anke Berndt in the role of Indra's daughter, which essentially characterizes the performance. Mrs. Berndt's interpretation can only be described as breathtaking in all its nuances. Despite all the highly dramatic emphasis that is necessary again and again, her soprano never gets tired, never sounds sharp or brittle, and also bewitches with all lyrical qualities to the end.

Klassik-Begeistert, Dr. Guido Müller

Not only visually she was an ideal Eva, but also vocally she succeeded with her flexible and beautifully developed voice, which responded well in all registers and was always on the breath and also had the necessary vocal assertiveness.

Das Opernglas, L.-E. Gerth

The big surprise this time was Anke Berndt. (...) With a wonderful Sieglinde, she opened up one of the main roles of the 'Valkyrie' in a (...) sovereign way. Chapeau!

Mitteldeutsche Zeitung, Joachim Lange

With Anke Berndt, the title role of the opera and the prima donna of the prelude are in the right throat. It is a pleasure to witness how this singer has developed at this house in recent years and has always opened up new roles. She belongs to those who also engage in different dramatic approaches in terms of acting.

nmz - neue musikzeitung, Joachim Lange

In the interpretation by ANKE BERNDT, who sings splendidly, is confident in the high notes and balances the game of naivety and unscrupulousness, this Lulu is extremely convincing.

Orpheus, Herbert Henning

The dramatic part of the protagonist (Schahrazade) is comparable in intensity and difficulty to that of Richard Strauss' Salome. Anke Berndt mastered it with bravura.

SWR, Claus Fischer

Anke Berndt, I was told, was singing her first-ever Eva, but she sounded as if she was born to the part. It's hard to believe that she has been engaged at Halle since 1990. Tall, slender, youthful and deceptively demure, she parsed out Eva's conflicting affections before bursting gloriously into 'O, Sachs, mein Freund!' Her estimable talent appears to be arching toward its apogee, and it's time for capital opera companies to take notice of her.

Operacast, Sam Shirakawa