Winslow Hall Opera, Winlsow UK 2013:

"Yvonne Fontane, who also directed, stalked through the part in a serious attempt to find what this woman is all about. Carmen uses the only weapon she has in a man's world, but she is no proto-feminist. Fontane focused on her anger, whose roots remain mysterious (though there are hints in her rage when José tries to dump her). She also highlighted the disabling mix of life-lust and fatalist death-urge - plus recklessly provocative behaviour - that undoes her and all around her. In the end, Carmen is just an idea of herself, one that doesn't always intersect with reality: for all her obsession with l'amour, it's not actually in her repertoire.

Fontane, a cultivated singer, also vocalised with plenty of curdling chest-notes and a kind of untrammelled physical ardour...

There was loads of atmosphere: smokey yellow light and the sweaty tang of bodies, with the small chorus vividly part of the action. The action was full of nuanced human relations, the principals a group of predatory animals circling with wary blood-lust, acutely alive to the possibility of prey..."

(OPERA NOW, Robert Thicknesse)


Radio Concert Hall 2007, Dublin (semi-staged):

"Yvonne Fontane used her assured body language and smokey contralto to give us an ideal Carmen."

(RTE Irish Radio Concert Orchestra 2007, Irish Times)


Queensland Opera, Brisbane Carmen 2004:

"Yvonne Fontane's performance here is sensationally effortless...Her voice is magnificent and upon this the real power of the opera hangs...Fontane hits just the right note, in both voice and mood. She is a film noir Carmen of shadows and cigarettes but eventually a profoundly emotive and radiating star."
(Emma Elms/

"Opera Queensland could scarcely have cast a better Carmen than Yvonne Fontane. She is young, sexy and...believable. She truly presents herself as a woman for whom a man would throw it all away. The fact she has a voice to match the considerable demands of the role seals it kamagra pharmacie."
(Brisbane News)

"Yvonne Fotane is stunning as Carmen. She manages to combine a sublime vocal ability with a wonderful stage presence and skillful acting. The result is that the audience cannot take their eyes off her."


Stowe Opera England, Carmen 2004:

"The mere fact that this Carmen presented so many paradoxes, and invites so many conflicting responses, is a measure of how far Fontane has managed to penetrate plot and personality, and get others to do so around her."

"Defiance she had in abundance -- rendering her disdainful tralala to a trilliping, nicely metallic-sounding flute. In the bar scene, her dance in front of the 'jealous' Jose, kept by Secret to a wonderful pianissimo as she tap-taps on her silver salver, dances on the table now stripped to her negligee, and massages him above and below with her in filmy apricot, was mesmerising."

"Fontane absolutely is a Carmen, and the strength of her vocal delivery is that it's never full-pelt: she seems to have so much in reserve. Wrapped around by the re-emerging cello 'fate' theme (from the overture and the card game), she sounds overawing -- potentially a great voice, with faint shades of Josephine Veasey as Dido at her most pained, or an anguished Agnes Baltsa. She can do the low notes wonderfully ('La mort')." (WWW.MVDAILY.COM, Roderick Dunnett)

"The year's (other) revelation was Yvonne Fontane, who (amazingly) both directed and sang the title role in Stowe Opera's Carmen."
(OPERA NOW - WHO'S HOT, Roderic Dunnett)

"In the opera...Fontane really makes her presence felt, incorporating ideas that make much dramatic sense...Fontane not only directs, she also sings Carmen. It soon becomes clear, however, that manipulating everybody else into the shadows is not part of Fontane's agenda...In a curiously touching scene, Michaela doesn't just limply proffer a letter from Jose's mother, she arrives complete with rug and picnic, to firmly remind him of the pleasures of home cooking.

But the major dramatic focus is on depicting Carmen and Jose as social equals - from utterly, and explosively different social backgrounds certainly, but equals nonetheless."
(Oxford Times)


"Yvonne Fontane's sensuous, credible, living-in-the-moment Carmen. She kept the character vivid an alive and, reasonably for a change, justified Carmen taking over the stage whenever she appeared."
(Columbia Artists' US tour 2001, Los Angeles Times)

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"STEINKLANG" - a multi-layered, highly creative art experience that combines Yvonne's own music with Manfred Dangl's stone sculptures. The art installation can be viewed in Murnau, Bavaria and is not be missed. Visit


21.7.2017: Yvonne's song "Dei Hand" has been released on the compilation CD "OBERLANDSAMPLER O3" featuring solo artists and bands of the region Oberland in Southern Bavaria.

London Festival Opera/Navrasa Duende Festival New Delhi

In 2018, Yvonne is continuing with her work as leading mezzo soprano for LONDON FESTIVAL OPERA including concerts at the Navrasa Duende Festival in New Delhi and numerous performances including in Venice, Vienna and the UK.

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CARMEN @ WHO Carmen and Stage Director

"Fontane, a cultivated singer, vocalised with plenty of curdling chest-notes and a kind of untrammelled physical ardour...There was loads of atmosphere...The action was full of nuanced human relations, the principals a group of predatory animals circling with wary blood-lust, acutely alive to the possibility of prey..." (OPERA NOW)

AIDA Amneris in Germany

"Yvonne Fontane sings and acts Amneris as the ice-cold schemer and desperate lover. Highly musical and with a dark glowing mezzo never veering in intonation during her jealous outbreaks, she is deeply moving in the judgement scene." (Gut Immling Festival, BAYRISCHER RUNDFUNK KLASSIK)


"Yvonne Fontane has a silvery pure voice, strong on clarity of diction yet imbued with humanity and with the ability to act with the voice." (CD of 'THE BRIDE OF DIONYSUS' Pheadra with the BBC Ulster Orchestra, Dutton Epoch,

LE NOZZE DI FIGARO Stowe Opera La Contessa and Stage Director

"Her production of LE NOZZE DI FIGARO was just about faultless, too, perceptive, funny, sweet, touching, her Countess dramatically many layered and fitting comfortably in the voice."(OPERA NOW) "Figaro was a beautifully precise, profound piece of work" (OPERA NOW)

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