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Zanaida, J.C. Bach

"The coloratura passages and top notes of [...] and Céline Akçağ (Tamasse) were impressive."

Wolf-Dieter Peter, "Humanität siegt über Schicksalsgespinst - Johann Christian Bachs Oper 'Zanaida' im Münchner Prinzregententheater", in: neue musikzeitung, 09.03.2024

"Tamasse singer [...] could only act due to illness, for her sang from the side (and after only a few days of role study) Céline Akçağ - with a distinctive, well-rounded, as if naturally led mezzo."

Markus Thiel, "Verschnürte Schlagerparade: Bayerische Theaterakademie zeigt 'Zanaida'", in: Münchner Merkur, 10.03.2024

Dido and Aeneas, H. Purcell

"...for the soloists, who are all allowed to shine. In addition to the countertenor, Céline Akçağ is outstanding. She has already celebrated several successes in Lüneburg and now, as Dido, embodies a skeptical woman who is nevertheless committed to Aeneas and ultimately painfully consistent. The Dido part seems to have been written for Akçağ's voice, so warm, naturally slender and with just a hint of vibrato. The 'Remember me' at the end, including the fire that is kindled, comes across so movingly that nothing can really follow."

Hans-Martin Koch, "Das ewige Mann-Frau-Ding", in: Landeszeitung, 18.09.2023

"...a new member of the ensemble will create enthusiasm: Céline Akçağ comes from Zurich, and what and where she has already sung everywhere should be read on her homepage, that would be too much to tell, says General Music Director Thomas Dorsch at the symphony program. [...] What a slender, powerful, colorful, simply beautiful, warm and soulful voice this mezzo-soprano sings! She will be celebrated in her many roles: [...] 'When I am laid in earth' sings Céline Akçağ in the afternoon and in the evening, touching, lyrical, deeply felt."

Hans-Martin Koch, in: "Die große Oper wird schlank", in: Landeszeitung, 31.08.2021

Rinaldo, G.F. Händel

"Goffredo (von Bouillon), general of the Christian army, is presented with authority and dignity by guest Céline Akçağ."

Petra und Helmut Huber, "LINZ/ Landestheater: RINALDO von G.F. Händel. Premiere", in: Online Merker, 13.11.2022

"The vocal performances of the evening were sensational throughout, with the ladies being particularly challenged in their coloratura-rich arias: in the trouser roles Angela Simkin as Rinaldo and Celine Akcag as the Christian General Goffredo, as well as Ilona Revolskaya in the role of the sorceress Armida."

APA, "Händels 'Rinaldo' in Linz: Drei kurzweilige Stunden", in: Salzburger Nachrichten, 13.11.2022

"Celine Akcag sings a noble 'commander' Goffredo with a velvety alto"

Paul Stepanek, "Amouröses, Zaubereien und 'Business-Händel'", in: OÖ Volksblatt, 13.11.2022

Der Mordfall Halit Yozgat, B. Frost

"The seven people present in the internet café with the role plays changing in the repetitions are vividly portrayed by highly committed singers from the Hanover State Opera, Céline Akçağ, Tahnee Niboro, Gudrun Pelker, Yannick Spanier, Richard Walshe and Sascha Zarrabi, as well as the actor Mathias Max Herrmann."

Achim Dombrowski, "Mordsoper mit politischer Warnung", in: O-Ton, 05.05.2022

Das Lied von der Erde, G. Mahler

"Céline Akçağ expresses emotional warmth at every moment, with a carrying, large mezzo, with a pensive recitative or the fading 'ewig' at the end, interwoven into the fading orchestral sound."

Hans-Martin Koch, "Ewig ist nur das Ende", in: Landeszeitung, 05.10.2021

Ritter Blaubart, J. Offenbach

"Céline Akçağ, the voice of this evening anyway, provides a serious, heartfelt moment in the operetta roar with her colorful aria."

Hans-Martin Koch, "Ein bisschen Spott muss sein", in: Landeszeitung, 02.10.2021

Così fan tutte, W.A. Mozart

"'Così' needs a harmonious team, both in acting and singing. Everything fits. The balanced quality of the quartet of lovers is the guarantee of success. The women stand out a touch. Céline Akçağ, singing seemingly effortlessly, gives Dorabella something ethereal."

Hans-Martin Koch, "Mozarts 'Così fan tutte' im Theater Lüneburg", in: Landeszeitung, 20.09.2021

"The women sing and act magnificently: [...] Mezzo-soprano Céline Akçağ as [...] Dorabella is not only convincing in her inconsolable pain. [...] Akçağ is a glamorous stage presence with an equally soft, velvety flowing voice."

Barbara Doll, "Wie geschmiert - Mozarts "Così fan tutte" im Prinzregententheater", in: , 29.11.2018

"What made the evening amazing were [...] indeed the six students of the August Everding Theater Academy, who made their grand entrance in the well-filled [...] Prinzregententheater. The Bremen soprano [...], the Swiss mezzo-soprano Céline Akçağ (Dorabella) and the Israeli soprano [...] were all wonderfully good-humored, vocally wonderfully balanced and amazingly unagitated artists."

Peter Jungblut, "Papier ist geduldig: Mozarts 'So machens alle' in München", in:,RAi03fm , 28.11.2018

Interview der Berner Kulturagenda, Ausgabe 01.10.-07.10.2020:



L'Ancêtre, C. Saint-Saëns

"The Zurich-born mezzo-soprano Céline Akçağ and the French soprano Milena Bischoff were also excellent as the two sisters Vanina and Margarita, convincing both vocally and dramatically in every scene."

Udo Pacolt, "MÜNCHEN/ Theaterakademie August Everding im Prinzregententheater: L'ANCÊTRE von Camille Saint-Saëns", in: , 30.03.2019

"Grandma Nunciata [...] drives the young Vanina (brilliant as Dorabella in So machen's alle: Céline Akcag) into a conflict."

Stephan Reimertz, "Oma schreckt vor nichts zurück", in: , 25.03.2019

"[...] Magarita, like her foster sister Vanina, is dressed in a dark school uniform with a white blouse. Vanina, sung by mezzo-soprano Celine Akcag, is also in love with Tebaldo. Outwardly and vocally, the two look like twins. Clear, bright tones, sung with youthful freshness, they also impress with their acting qualities."

Dr. Helmut Pitsch, "Camille Saint Saens Die Ahnin - Derber Familienzwist in hochromantischer Färbung", in: , 25.03.2019

"The interweaving of Nuntiata's duet of hatred with Vanina and the renewed smouldering of love between Margarita and Tebaldo proves to be a dramatic climax - and this is contrasted by a convincing solo scene in which Vanina sings her conflict between Tebaldo's adoration and her duty to kill off her soul. The still-student Céline Akçag succeeded in a touching way: a mezzo-soprano 'with a lot of future'."

Wolf-Dieter Peter, "Saint-Saëns' vergessenes Musikdrama 'L'Ancêtre' im Münchner Prinzregententheater", in: , 22.03.2019

"Céline Akcag as well as her 'milk sister' Milena Bischoff in very touching studies [...]"

Uwe Mitsching, "Blutrache auf Korsika", in: Bayerische Staatszeitung, 22.03.2019

La tragédie de Carmen, G. Bizet

"[...] Very young singers who have just completed their training are given the opportunity to develop their full talent. This is already great in Céline Akçağ, who portrays a Carmen with impeccable French, perfect vocal freedom and homogeneity and an undeniable stage presence, without falling into the excesses of exaggerated provocation or the ease of excessive chestiness in the lower registers."

Michel Thomé, "Carmen, Tosca et Mahler au Festival de Pâques de Baden-Baden", in: , 13.04.2017

"The two Freiburg singing students are the highlights of the ensemble. [...] Céline Akcag is a multi-layered Carmen, who remains cultivated in the depths and touches with her fine tone colors, especially in the middle range, but also in the warm high register."

Georg Rudiger, "Die Protagonisten krabbeln in den Venen", in: , 12.04.2017

"Céline Akçağ is a Carmen par excellence, whether you have the traditional image of the glowing-eyed gypsy in mind or that of a self-confident young woman of today. With her velvety timbre and strong stage presence, she beguiles more than just Don José. When he annoys her, she wraps Escamillo around her finger in an instant. [...]
Escamillo is dragged out of the arena dead, Carmen's heart is broken, death is welcome. Until then, Céline Akçağ and Felicitas Frische as Micaela sang beautifully and confidently."

Badisches Tagblatt, 10.04.2017


"[...] or Bernstein's last Broadway score, '1600 Pennsylvania Avenue'. Its poignant anthem 'Take Care of This House' is performed by Céline Akçag with a colorful mezzo."

Tobias Hell, "Feine Feier - Die Theaterakademie sagt 'Happy Birthday, Lenny!'", in: Münchner Merkur, 17.02.2018

"The award-winning mezzo-soprano, who was taught by her mother Edith Akçag until the age of 18, thrilled concertgoers with her warm and versatile voice. 

In six of the orchestral songs from "Des Knaben Wunderhorn" by Gustav Mahler (1860-1911), she sang her way perfectly into the various moods and scenes. The versatility of Céline Akçag's voice, without ever losing any of its beauty, is remarkable. [...] The long-lasting applause gave the audience an encore of "Samba Classico" by Heitor Villa-Lobos, in which Céline Akçag was also able to demonstrate her dramatic side. It was a pleasure!"

eho, "Eine konzertante Familienangelegenheit", in: , 23.11.2017

"The five singers of Operella were not only convincing vocally, but also with their gestures and facial expressions, displaying a professionalism from the very first moment that repeatedly drew applause from the audience."

Alexandra Falcon, "Grosses Potenzial auf einer kleinen Bühne", in: , 15.09.2017

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