R e v i e w s

“Anna Nyhlin has got a slender, pure and agile soprano voice”
 - Dalademokraten, July 2010

“Anna Nyhlin’s crystal-clear coloratura is dazzling.”

“Anna Nyhlin bländar med klockrena koloraturer.”
 - Skånska Dagbladet 22 July 2004

“Anna Nylin is a cute and cheeky Amor with a beautiful voice.”

“Anna Nyhlin er en kaek og fraek Amor med en dejlig stemme.”
 - Börsen, Denmark 22 July 2004

“Anna Nyhlin [...] an enchanting Amor. [...] Her clear, pure voice perfectly suits baroque opera”

“Anna Nyhlin [...] en förtjusande Amor. [...] Hennes röst var rak och ren, väl passande i en barockopera.”
 - Ystads Allehanda 24 July 2004

“…outstanding vocal contribution [...] It was ingenious to have the gods represented by a capricious femme fatale, excellently portrayed by Anna Nyhlin”

“utmärkta sånginsatser [...] Att låta gudarna representeras av en nyckfull femme fatale – utmärkt gestaltad av Anna Nyhlin – är också en klok tanke.”
 - Dagens Nyheter 22 July 2004

“Anna Nyhlin’s sweetly warbling Amor.”

“Anna Nyhlins södt kvidrende Amor.”
 - Politiken, Denmark 23 July 2004, Orfeus ed Eurydice”, Opera by Christoph Wilibald Gluck. July 2004, Ystad Theatre, Sweden . Susanne Rydén – Eurydice, Mikael Bellini – Orfeus, Anna Nyhlin – Amor, Stockholm Baroque Orchestra . Stage set: Tim Reed, Director: Jörgen Lindvall, Conductor: Mark Tatlow

“The fresh voice of soprano Anna Nyhlin came into its own with Baroque orchestra. Her voice resonated bright and pure over the soft orchestral carpet.”
 - Länsi-Suomi (Western Finland), March 2004, Rauma, Finland – Music by Monteverdi, Sanchez and others Anna Nyhlin – soprano, Ian Honeyman – tenor, Petteri Salomaa – baryton, Helsinki Baroque Orchestra

“Of the three soloists Anna Nyhlin’s angel voice went straight for the heart. “

"A pure, agile and clear voice free from troubles with high notes and without disturbing vibrato.”
 - Arbetarbladet, Gävle 8 January 2003, Trefaldighetskyrkan’s choir and orchestra – Christmas Pastoral by M-A Charpentier

“Beautiful instruments with large sets of strings creating airy yet broad carpets of sound, which here surrounded Anna Nyhlin’s soft and clear soprano voice.”

“The singer showed delicate phrasing with well-connected long lines.”
- Östgöta Correspondenten 9 September 2002, Finest Fancies, Linköpings Cathedral – Sacred, Italian 17th-century music

“Characteristic of this concert was the fact that Ms Nyhlin’s beautiful singing intertwined in the instrumental accompaniment with such devotion and preciseness.”
 - Katrineholmskuriren 26 August 2002, Finest Fancies, Stora Djulö Castle – Italian 17th-century music

“Anna Nyhlin [...] and Susanne Rydén [...], two sopranos with exquisite vocal resources.”

“A real treat for all music lovers.”
 - Skaraborgs Läns Tidning, 20 August 2002, Finest Fancies and friends, Varnhem’s Cathedral – Sacred, Italian 17th-century music for two sopranos

“The two sopranos [Anna Nyhlin and Elisabeth Belgrano] first sang an aria perfectly in the style of the period: Due labbra di rose, a duet with smooth accents, wherein the voices gracefully entwined with each other. Perfect diction, exact attacks, sighs, contrast – one could joyfully imagine vocal music sounding just as pure in the halls or in the groves at Versaille.”

“Anna Nyhlin performs the melodious aria with a ray of expressive sonority. She enchants us with her trills, with her well-kept legato giving expression of an image-filled sorrow. The sensitivity, the clear musicality and, at the same high level, the colour of the sound, the artful bending of the voice: nothing could distract this delicate sonorous delight.”
- Luxemburger Wort, 1 March 2001, Cornucopia, Les Concerts du Foyer Européen – French and Italian 17th-century music

“At the final concert in the evening of the sixth day of the course, Mona Spägele as Messagiera and Anna Nyhlin as Fileno left us with the deepest impression. In spite of the overpowering news of [Orfeo's] death they reached us with their stories without abandoning the narrative style of the scenes.”
- Panorama, November 2000, L’Accademia d’amore, Bremen – Music from “La morte d’Orfeo” by S Landi

“…grace and youthful lightness.”

“…exquisitely straight and natural singing, as pure as her appearance.”
- Södermanlands Nyheter, 21 August 2000 Groundhogs, Ökna Herrgård – “One Charming Night”: English theatre music by H Purcell, J Blow, J Eccles and others

“It is precisely as elegant as you would imagine French baroque music to sound. Graceful, light, dancing, yes even swinging.” “Their voices [Anna Nyhlin and Elisabeth Belgrano] are flexible, their ornaments are clear and the vibrato controlled.”
- Eskilstuna Kuriren, 2 August 1999, Cornucopia, Mälsåker Castle – French and Italian 16th-century music

“The second climax of the concert was reached with the archaicly spiritual Crepuscolo (1992, for soprano and mixed choir). Well performed with Anna Nyhlin as soloist.”
- Svenska Dagbladet, 30 March 1999, Anna Nyhlin, soprano, Chamber Choir of the Royal University College of Music, Stockholm Conductor: Anders Eby, Music by Karl-Erik Welin