Martina DIKE  Mezzosoprano


In 2019 Martina Dike impressed as ORTRUD in 'Lohengrin' at the Nuremburg State Opera. J.-M. Wiencke wrote in the munic magazine DAS OPERNGLAS:
”... meanwhile the Swedish mezzo soprano has guest performances with this repertoire at all the i8nternatiol stages. She equally left her mark on this performance. She matched the demonic touch in the enchantment of her pagan roots in Wotan's realm with her will to retain her power by exploitung her husband.. The mighty impetus of her vocal possibilities perfectly met the challlenges of the part.“

She made her debut in this very role in 2017 at the Grekk National Opera in Athens. In the same year she sang VENUS in 'Tannhäuser' at the Riga National Opera. She is also a very much sought-after BRANGÄNE and portrayed this role a.o. at the Aalto Theatre Essen, the Flemish National Opera Antwerp , the Opera in Nantes, the Opera in Dijon, the Frankfurt Opera, the Opera House in Montreal and in concerts in Malmö and Riga.

From 2006 to 2010 she could be seen as WALTRAUTE, FRICKA and as the SECOND NORN in the ‘Ring’ at the Bayreuth Festival . From 2010 until 2012 she was FRICKA in ‘Das Rheingold’ and ‘Die Walküre’ at the Frankfurt Opera House. The entire RING was released on CD and DVD by the Oehms Classics label. She also portrayed FRICKA in ’Die Walküre’ at the Riga National Opera and the German Rhine Opera Düsseldorf/Duisburg.

Other guest engagements brought her to as FLOWER MAIDEN and the VOICE FROM ABOVE in 'Parsifal' to the Theatre de la Monnaie in Brussels , as PROSERPINA in Monteverdi’s 'L´Orfeo' with René Jacobs (available on DVD), TISBE in 'La Cenerentola', as COUNTESS GESCHWITZ to the Frankfurt Opera House. Besides, she performed in concerts at the London Barbican Hall and in Aix-en-Provence and Milano.

In 2015 she made her debut at the Dortmund Opera House as GERTRUD in 'Hänsel und Gretel' and MS. SEDLEY in 'Peter Grimes' . “Martina Dike as Klytemnestra was the star of the evening” the press wrote in May 2016 after the premiere of the concertant performance ‘Elektra’ with the Osnabruck Symphony Orchestra.

In 2018 Martina Dike made her debut as ANINA in ‘Der Rosenkavalier’ at the Bogota Opera House and portrayed AMASTRE in Händel’s ‘Serse’ at the Nuremburg Opera House. The artist works with such renowned conductors and directors Leif Segerstam, Kent Nagano, Stefan Soltesz, Christian Thielemann, Dmitri Jurowski, Antonio Pappano, René Jacobs; Barry Kosky, Jens Daniel Herzog, Tilmann Knabe, Vera Nemirova,…

In her home country the Swedish singer is also very much sought after. She had guest performances at the Royal Opera Stockholm as CLAIRON in ‘Capriccio’, MADDALENA in ‘Rigoletto’, CARMEN in ‘Carmen’, ADALGISA in ‘Norma’, BRANGÄNE in ‘Tristan und Isolde’ – which was highly acclaimed by the press - , EBOLI in ‘Don Carlo’, FRICKA in ‘Das Rheingold’ and ‘Die Walküre’. At the Värmlands Opera Karlstad she performed WALTRAUTE in Wagner’s ‘Götterdämmerung’.
In 2011 she enjoyed a huge success at the Malmö Opera with the part of Hervor/Hervardur in Stenhammar’s opera “Tirfing”. Further perfomances in Sweden include the COMPOSER in “Ariadne auf Naxos” at the Malmö Opera but also concerts with the Swedish Radio Symphony Orchestra (Verdi and Mozart Requiem), the Royal Stockholm Philharmonic Orchestra (Beethoven's 9th Symphony and Bernstein's 1st Symphony “Jeremiah”) and the Gothenborg Symphony Orchestra (Oedipus Rex).

While still studying in Stockholm Martina Dike had her first guest engagements with Bach’s “Johannes Passion” (Eric Ericson’s Chamber Choir and the Drottningholm Barock Orchestra) in Tallinn and on a subsequent tour.

In the season 2019/20 she can be seen in gala concerts in honour of Birgit Nilsson with the Helsingborg Symphony Orchestra and as EBOLI in ‘Don Carlo’ at the Nuremburg State Opera.


Staatstheater Nürnberg – Krieg und Frieden - ANCHROSSIMOVA
Especially the ladies made a brilliant, strongly dramatic impression: Martina Dike portraying a strict, but yet compassionate Anschossimowa, singing a highly brilliant technically difficult duet with Natasha and then throws herself into the war.
Der Opernfreund
Staatstheater Nürnberg - Lohengrin - ORTRUD
Martina Dike as the dark warrioress Ortrud, dressed with bull horns vocally presented the best performance of all singers: belligerent, powerful in the high registers, her mezzo voice convinces with a huge differentiation capability.
Thomad Heinold, Oper! / Juni 2019
Martina Dike is a entirely compelling Ortrud.
RWV Bamberg
Sangmin Lee as Friedrich von Telramund and his dreadfful playmate Ortrud (Martina Dike) obviously enjoyed their roles and propelled the action forward with their dynamical and convincing play. Lee impressed with his intimidating appearance and his vocal presence and Dike’s Ortrud was highly dramatic with a razor-sharp voice.
Das Opernmagazin
Applause also for the truly wild Ortrud with the ram horns and the sharply cut soprano tones (Martina Dike)
Bayerische Staatszeitung
… and Ortrud both vocally and actingly outstrip each other…., while the Swedish mezzo soprano Martina Dike dressed with bull horns fully savors Ortud’s entire unfathomabilty with huge registers and subtle changes of pitche.
Expressive and dramatical, with a convincing stage presence martina Dike as Ortud is the embodiment of e Wagner heroine.
…Martina Dike sings his „dreadful wife“ Ortrud with a pleasant remnant warmth in the searing mezzo acid.
Die deutsche Bühne
The South-Korean Sangmin Lee and the Swedish Martina Dike as Telramund and Ortrud naturally utilized in full the template of the parts, which dramatically pushed the action… She as a mysterious unknown in great Fricke format.
With Martina Dike and Sangmin Lee these protagonists of the Germanic pagan world were equally optimally casted. Convincing without constriction, both vocally and as actors in their play of pretence, manipulation and malice.
Musically, the South-Korean baritone Sangmin Lee and the Swedish mezzo soprano Martina Dike as Telramund and Ortrud were the stars of the evening. Splendidly acting, with great voices, flowing energy, martial expression and impressive comprehensibility they upstaged all the others.
Staatstheater Nürnberg – Xerxes - AMASTRE
Tutte le voci erano ben preparate e nei loro ruoli, sottolineo però in ultimo l'espressiva e lirica voce di Martina Dike, che abbiamo apprezzato anche per la difficoltà del suo ruolo.
In collaboration with Rene Jacobs, one can hear that Martina Dike has lots of experience in old music. Even when the disdained fiancée Xerxes cries for vengeance, Amastre remains discreetly in the background.
A rather tragic character is Amastre, who rejected by Xerxes is still faithful and inwardly desperate. With her dramatically colored soprano voice, Martina Dike gives the role the necessary seriousness.
O –Ton Renate Freyeisen
Martina Dike as convincing Amastre was delightfully endearing. In spite of all his escapades, she still loves Xerxes and with dramatic soprano heights she desperately tries everything to keep the emperor’s heart.
Opéra de Columbia Bogota – Der Rosenkavalier – ANNINA
Among the minor roles one must mention Martina Dike`s very hearable Annina (a rarity in this part).
Nationaloper Riga – Tannhäuser - VENUS
Straight and dominantly and with a powerful mezzo soprano voice Martina Dike as Venus shows her frustration at Tanhäuser’s intention to leave her in spite of her undoubtedly beguiling services.
Opernglas 7/8 , 2017
Greek NationalOpera Athens - Lohengrin - ORTRUD
But much more impressive as Elsa both vocally and scenically was Martina Dike's Ortrud, . Her dramatic mezzo soprano voice entirely satisfied all the requirements of the part and convinced by its richness and its secure high notes. Due to Dike the first scene of the second act turns into the dramatical-musical highlight of the evening.
Der neue Merker
Osnabrück Symphony Orchestra - Elektra - KLYTAMESTRA
The star of the evening was Martina Dike as Klytamnestra. In a virtuoso manner and with her brilliant voice technique she succeeds in depicting the expressive character of the Strauss' Melos.Seamlessly she leads her voice from naked, deep spoken tones to dramatic soprano heights. She is the queen, yet she is captured by restlessness and panic nightmares. She attempts to get some help from her daughter. Tovey and Dike, the most splendid actresses of the evening make the encounter an unforgettable, thrilling experience.
And then there is Klytamnestra. It is not yet clear if she dominates Elektra in being the biggest beast of Mykonos. Strauss didn't give her much chance to profile herself like her daughters. Yet Martina Dike, like Rachel Tovey a guest singer of the ensemble, succeeds in doing so. Vocally at any case. Then despite her mezzo, her voice perfectly equals the voice of her stage partner in power.
Theater Dortmund - Peter Grimes - MRS: SEDLEY
...Martina Dike... they all sing and act on the highhest level.
'..and the sanctimonious widow Mrs. Sedley ( brilliant as hypocritical alcoholic, addicted to pills: the Swedish mezzosoprano Martina Dike)...'
'Martina Dike as the widow Sedley gave her part great individual profile and was also vocally very convincing. '
Martina Dike as the widow Mrs. Sedley, salvitating and scandalizing her vicinity's misfortune.'
Die Deutsche Bühne
'MARTINA DIKE skittischy presents an absurd, salvitating Mrs. Sedley.'
Der neue Merker
Christmas oratorium - Härnösand December 2015
'I particularly would like to highlight Martina Dke, who although being a mezzosoprano, performed the alto parts. She has a warm and deep voice, which knows how to capture the audience and to open all its senses so they can entirely enjoy the tender touches of the music.'
Örnsköldsviks Allehanda
Dortmund Opera House - Hänsel und Gretel - GERTRUD
Martina Dike as Mother Gertrud posesses the necessary aplomb for the small. yet demanding role. With her voluminous mezzo voice, she sings perfect low registers and yet she swept away the children with her impressive H.'
Der Opernfreund
'With Martina Dike, the role of the mother is also perfectly casted. She succeeds in portraying a caring and desperate character, unterlining it with her dramatic soprano.
'Whereas Martina Dike as the mother and Sangmin Lee as the father sing their parts clearly articulated.'
'The parents ( wunderfully sung with clear diction by Martina Dike and ... '
Martina Dike in the role of mother Getrud sometimes is a little bit dramatic in the high registers, which is perfectly in line with the story - at least when the children have dissapeared.
Heinz Magasin
Theater Dortmund - Tristan und Isolde - BRANGÄNE
The musical level of the evening was excellent. The increased reputation of the house attracts top level singers:... Flawlessly Martina Dike' s clearly timbred Brangäne.
Very convincing Martina Dike as Brangäne, who sang the part with a full but yet slender, not too dark voice.
Opernglas, 10/2015
'Martina Dike as Brangäne in Dortmund is a godsend. Right from the first minute, she is entirely present and vocally on the highest level. Her "Beware" calls in the second act really gave one goose bumps. Endless bravos for an outstanding performance.'
'Martina Dike as Brangäne has a mezzo soprano voice with a dark timbre, which shows a thrillingly intense magic. Together with Karl-Heinz Lehner as King Marke and Sangmin Lee as Kurwenal, she is a rewarding pledge for Wagner's music.'
Der Opernfreund - Peter Ryz
'Martina Dike is a rich-voiced Brangäne, showing great stage presence in her acting with a minimum of effort.'
Der Opernfreund - Martin Freitag
Excellently casted were the roles Bragäne and Kurwenal with Martina Dike and Sagmin Lee, who sometimes made an even bigger impression as the title couple. Dike shines with a voluminous voice and a perfect diction.
With enormous dramatic energy, Martina Dike impresses as Brangäne (she has already Bayreuth experience as Fricka in 'Die Walküre')... her vocal presence in the high registers and her enthralling presentation give the character impact.
Martina Dike is a very souvereign Brangäne, whose mezzo voice effortlessly fills the opera house - and she sings just as cold and calculeted, as demanded by the production.
...and the brilliant part of the equally Bayreuth-experienced mezzosoprano Martina Dike raised this evening to a high musical level.
Martina Dike as dramatically gripping Brangäne with beautifully soft Beware calls.
Martina Dike's Brangäne is at the same time noble, severe and sensual.
Martina Dike sings a Brangäne of compelling beauty and creative power.
'...and Martina Dike as explosive Brangäne liefern gave outstanding role portraits...'
'But out of the in-house ensemble Martina Dike's overwhelming Brangäne stood out...'
Recklinghäuer Zeitung
Frankfurt Opera House – Die Walküre – FRICKA
“Absolutely phenomenal the vocal charisma of Martina Dike’s Fricka. It’s a pity she had to leave the stage so soon.”
Opera House Frankfurt – Das Rheingold – FRICKA
„Also Martina Dike’s extremely bell-like sounding voice is particularly noticeable. “
Stefan M. Dettlinger/Morgenweb
Opéra de Montréal – Tristan und Isolde – BRANGÄNE
“Only when Martina Dike sings Brangäne and James Moellenhoff the King Marke, one immediately understands what’s a true Wagner singer. These two protagonists are – especially at the Premiere – the heroes and the revelation of the evening.”
Le Devoir
Latvinian National Opera Riga – Die Walküre – FRICKA
„When Martina Dike sang, the audience was equally electrified. Her interpretation of the god’s wife was high class, not at all the scathingly scolding wife. Her Fricka was sung with a soprano timbre upon a clear mezzo basement, attesting a focussed, cool femininity.”
Royal Opera Stockholm – Die Walküre – FRICKA
“His wife Fricka (magnificent Martina Dike) no longer lets herself be seduced by her notoriously unfaithful husband…”
Sofia Nyblom - SVD
„With her perfect mezzo voice Martina Dike sings a Fricka balancing between tragedy and divine femininity. Another amazing Swedisch singer with a real Wagner voice.”
GunillaBrodej - Expressen
Aalto Theatre Essen - Tristan und Isolde - BRANGÄNE
Whereas the 3 singers, mentioned above, already sing since the premiere in 2006, the role of Brangäne was portrayed by Martina Dike, who accurately performed her part in the high peaks, well foccussed in the middle registers Wonderfully sustained, she sang the 'Hab Acht' cries.
Der Neue Merker
Sinfonieorchester Osnabrück - Elektra - KLYTÄMNESTRA
Theater Dortmund - Peter Grimes - MRS SEDLEY
Dortmund Opera House - Hänsel und Gretel - GERTRUD
Königlich Schwedisches Opernhaus Stockholm - Die Walküre - FRICKA
De Vlaamse Opera Antwerpen - Tristan und Isolde - BRANGÄNE
Detusche Oper am Rhein - Walküre - FRICKA
Opernhaus Malmö - Tirfing - HERVOR