Ingela Brimberg

soprano

press reviews

as Lady MacBeth in Verdi's MacBeth at Opera de Toulon:
Starting with Swedish soprano Ingela Brimberg’s remarkable Lady Macbeth. The magnetic presence of this singer makes each of her appearances a moment of great excitement. She gives charisma to her character at every moment.Technically she is impeccable, delivering the demanding cabaletta in the first act with a voice that is powerful as well as controlled, coupled with musical intelligence, a feeling for declamation and a subtle playing between piano and forte with a rare efficiency. She avoids all the pitfalls of the role due to the formidable span in the tessitura ... all together we have here one of the great interpreters of the role ... You have here a production of Macbeth which could be viewed and reviewed on any major European opera house ... This is without any doubt one of the most successful performances on the stage of Toulon in recent years. Three hours of pure bliss ...	Commençons par la remarquable Lady Macbeth de la soprano suédoise Ingela Brimberg. La présence magnétique de la cantatrice fait de chacune de ses apparitions un moment de grande excitation. Elle offre un charisme de tous les instants à son personnage. Techniquement, elle est irréprochable, elle offre une voix puissante et maîtrisée dans la terrible cabalette du premier acte, doublée d’une intelligence musicale, d’un sens de la déclamation et d’une subtilité de son jeu sur le piano et le forte d’une efficacité rare. Elle évite tous les pièges du rôle dus aux écarts redoutables de la tessiture… On tient là une des grandes interprètes du rôle ... On tient là la production de Macbeth à voir et à revoir sur toutes les grandes scènes lyriques européennes ... C’est sans nul doute l’un des plus spectacles les plus réussis présentés sur la scène toulonnaise lors de ces dernières années. Trois heures de bonheur total…
Sortir ici et ailleurs 2 May 2014
A superb staging «Better than the ‘Macbeth’ we saw at La Scala!» exclaimed on Friday a passionate couple who travels the world in search of the "must see opera ". The voice of soprano Ingela Brimberg and baritone Giovanni Meoni expressed their full power at the premiere.	Sur une superbe mise en scène « Mieux que le "Macbeth" que nous avons vu à La Scala ! », s’est exclamé vendredi un couple de passionnés qui parcourt le monde à la recherche du « must lyrique ». Les voix de la soprano Ingela Brimberg et du baryton Giovanni Meoni ont exprimé toute leur puissance lors de la première.
La Marseillaise 29 April 2014
as Sieglinde in Wagners Die Walküre (The Valkyrie) 3rd act in concert at the Berwald Hall in Stockholm:
With Ingela Brimbergs Sieglinde yet another Swedish Wagner star was born ...	Ingela Brimbergs Sieglinde tände ännu en svensk Wagnerstjärna ...
Dagens Nyheter 7 December 2013
Ingela Brimberg, her Sieglinde was magnificent, like a laser beam her despair filled the Berwald Hall; and in her case, you can actually imagine the spirit of Birgit Nilsson, their voices are not essentially different, I dare say since I remember Nilsson from the last years of her career.	Ingela Brimberg, hennes Sieglinde var magnifik, som en laserstråle fyllde hennes förtvivlan Berwaldhallen och i hennes fall kan man faktiskt ana Birgit Nilssons ande; rösterna är inte helt väsensskilda, vågar jag påstå eftersom jag minns Nilsson från de sista åren av hennes karriär.
Aftonbladet 6 December 2013
as Senta in der Fliegende Holländer at the Wagner Geneva Festival:
The Flying Dutchman triumphs at the Wagner Geneva Festival "The cast also offers incomparable joys, dominated, just as in Marc Minkowskis most recent recording, by the flambouyant Senta sung by Ingela Brimberg. Her timbre is glorious over the whole range, projection like a javelin, a painfully physical presence: I am down on my knees!"	Le Vaisseau fantôme triomphe au Wagner Geneva Festival “Le plateau offre lui aussi des joies incomparables, dominé, comme dans le récent enregistrement de Marc Minkowski, par la Senta flamboyante d’Ingela Brimberg. Timbre glorieux sur toute l’étendue de la tessiture, projection en javelot, présence physique torturée et superlative : à genoux !"
Diapason 30 October 2013
"... Senta by Ingela Brimberg is one of the most magnificent we have ever seen. Infusing her character with passion, as well vocally sumptuous as she is theatrically convincing, it brings to mind the hallucinatory interpretation Anja Silja once gave as Senta."	"... la Senta d’Ingela Brimberg est l’une des plus magnifiques qu’on ait jamais vues. Investissant son personnage avec passion, aussi somptueuse vocalement qu’elle est convaincante théâtralement, elle fait songer à l’interprétation hallucinée qu’Anja Silja donna naguère de Senta."
Le Nouvel Observateur 31 October 2013
"... This is a good concept, especially when the staging is in an old power plant, that the characters gives great scenic as well as musical stage presence. ... Ingela Brimberg, a dream cast on the Wagner sky with impressive intensity for an energetic Senta.”	"... Das ist ein gutes Konzept,vor allem, wenn ein Sängerteam am Werk ist, das den Figuren szenisch wie musikalisch großartige Bühnenpräsenz verschafft. ... Ingela Brimberg, eine Traumbesetzung am Wagner-Himmel mit imponierender Intensität für eine energiegeladene Senta."
Der Neue Merker 2 November 2013
"Ingela Brimberg is precisely one of those artists who to the glowing voice adds the necessary physical presence on stage that our precious Wagnerian experts are longing for. The voice, spectacular and intense reminds about the young Leonie Rysanek and is even more accurate. Solicited scenically since the first act, this soprano, already acclaimed in the same role but in a concert version conducted by Marc Minkowski, doesn't get enough of being present on stage, she is in a move, she lives and when singing she ... By the way, she is not singing, she is on fire."	"Ingela Brimberg est justement une de ces artistes qui ajoute à un chant incandescent cet indispensable engagement scénique qu'appelaient de leurs vœux nos éminences wagnériennes. La voix, par son rayonnement et par la densité de la matière, évoque celle de la jeune Leonie Rysanek, la justesse d'intonation en plus. Sollicitée scéniquement dès le premier acte, cette soprano, déjà applaudie dans ce même rôle mais en version de concert sous la direction de Marc Minkowski, ne se satisfait pas d'habiter le plateau, elle bouge, elle vit et quand elle chante, elle sait, par un juste usage de la couleur, empêcher que la composition ne semble tout d'un bloc. Elle ne chante pas d'ailleurs, elle brûle"
forumopera.com
"Best was the Swedish soprano Ingela Brimberg as Senta. ...it is a pleasure to hear a dramatic soprano with genuine ringing high notes"
seenandheard-international.com
as Senta in der Fliegende Holländer, concertante with Les Musiciens du Louvre:
Senta conquered them all The soprano Ingela Brimberg impressed with an extensive and strong voice, with intense penetrating and powerful dramatic sense. "When entering Palau, nobody knew who Ingela Brimberg was, Swedish soprano chosen by french conductor Marc Minkowski to interpret Senta, female lead in The Flying Dutchman. Already in the emotional ballad her output removed any doubt about her ability to overcome the challenges of the first great heroine of the Wagnerian repertoire. She impressed with an extensive, strong voice and with intense penetrating and powerful dramatic sense. Sounding like thunder, her voice remained strong and expressive to the end and was acclaimed by the audience literally: Senta conquered everything and everyone. "	Senta pudo con todos La soprano Ingela Brimberg impresionó con una voz extensa, resistente, con agudos penetrantes y potente sentido dramático. "Al entrar al Palau, nadie sabía quien era Ingela Brimberg, soprano sueca escogida por el director francés Marc Minkowski para interpretar a Senta, protagonista femenina de El holandés errante. Ya en su emocionante balada de salida despejó cualquier duda sobre su capacidad para superar los retos que presenta la primera gran heroína del repertorio wagneriano. Impresionó con una voz extensa, resistente, con agudos penetrantes y potente sentido dramático. Sonó como un trueno, mantuvo la voz firme y expresiva hasta el final y fue literalmente aclamada por el público: Senta pudo con todo y con todos."
El País June 2013
"... the soprano Ingela Brimberg (Senta) was the big winner. Quite a discovery. Her powerful and well placed higher notes, and her ability to convey emotions, dazzled the audience."	"...la soprano Ingela Brimberg (Senta) fue la gran triunfadora. Todo un descubrimiento. Sus potentes y bien colocados agudos, así como su capacidad para transmitir emociones, deslumbraron al personal."
elperiodico.com June 2013
"...Ingela Brimberg ....was truly able to shine"	"...vermochte Ingela Brimberg ...wahrhaftig zu glänzen"
Wiener Zeitung June 2013
"Again, a high-level distribution, starting with the vibrant Senta poignantly sung by Ingela Brimberg"	"Là encore, distribution de haut niveau, à commencer par la Senta vibrante et dardée d'Ingela Brimberg"
Le Figaro May 2013
as Ellen Orford in Brittens Peter Grimes at The Royal Opera in Stockholm:
"A striking performance where the most touching is to see when Ingela Brimberg as Ellen Orford - brilliant - in the end give up trying to help Peter Grimes”	”En drabbande föreställning där det smärtar mest att se när Ingela Brimberg som Ellen Orford - lysande - till slut ge upp sina försök att hjälpa Peter Grimes”
Expressen May 2013
Almost everything impress in this staging ”Ingela Brimbergs wonderful Ellen Orford”	Nästan allt imponerar i den här föreställningen ”Ingela Brimbergs underbara Ellen Orford”
Svenska Dagbladet May 2013
"Ingela Brimberg as Ellen Orford is strong in her voice apperance and convincing as the motherly caring fiancee"	"Ingela Brimberg som Ellen Orford är stark i sången och övertygande som den moderliga fästmön”
Aftonbladet May 2013
"...the soprano Ingela Brimberg strong as well as vulnarable as school teacher Ellen Orford"	"...sopranen Ingela Brimberg både stark och sårbar som skollärarinnan Ellen Orford"
Dagens Nyheter May 2013
”Ellen Orford - stingingly beautiful interpretation by Ingela Brimberg”	”Ellen Orford - svidande vackert tolkad av Ingela Brimberg”
nummer.se May 2013
Grim Grimes in Stockholm touches heart-string "Ingela Brimberg ...vocally glowing and heroic, scenically vulnerable and affecting. In many ways Ellen Orford in this production stood out as equal in importance to Grimes. Ingela Brimberg might well be elected the singer of the year in Sweden for her Ellen Orford"
seenandheard-international.com May 2013
as Tosca at Den Jyske Opera:
Jysk Opera offers great singing performances - especially by Ingela Brimberg as Tosca "Glowing. Swedish Ingela Brimberg as Tosca was the great experience at the premiere in Aarhus" ... first of all must Swedish Ingela Brimbergs Tosca be highlighted. The voice was glowing and had an intensity that gives every reason why this soprano, after having sung the role in Gothenburg and Helsinki last year, got the Svenska Dagbladet opera price for the particular performance.	Jysk turnéopera byder på flotte sangpræstationer - især af Ingela Brimberg som Tosca "Glødende. Svenske Ingela Brimberg i partiet som Tosca var den store oplevelse ved premieren i Aarhus" ... først blandt alle må svenske Ingela Brimbergs Tosca fremhæves. Stemmen var glødende og havde en intensitet, der giver al mulig begrundelse for, at denne sopran efter at have sunget partiet i Göteborg og Helsinki sidste år fik Svenska Dagbladets operapris for netop denne præstation.
Politiken 3 February 2013
as Tosca at the National Finnish Opera: (a restaging, main papers absent)
... they succeeded exellently. There are some fine Swedish voices, this time Ingela Brimberg as Tosca. Brimberg has a beautiful, dramatic and technically perfect soprano voice that carries well. She is handsome enough to meet the requirements of the role, and she is also an actress rich in nuances.
Wagnerianni Autumn 2012
as Tosca at Göteborgsoperan:
She lets me share the uncertainty carried behind her diva’s mask. There, behind the confident surface, the real-life actions lead to tangible consequences. (...) Slowly everything that she lives for fades away. To follow this painful process, layed bare in such a luminous way as in Brimbergs Tosca, is as seductive as it is scary. From her first to her last "Mario", the voice sounds like a deep red velvet curtain that wraps around the Gothenburg Opera’s big auditorium. Her top notes are big, rich and dramatic, without being slandered the subtle nuances. It is like balm for the ears and I just want more. I understand Scarpia's lust. Brimberg remains uncontradicted as the performance’s primadonna ... ...This is Tosca's performance, but far more than just a play. It is impossible not to empathize with Tosca. Deeply touched, I leave the auditorium to book a new ticket and find out Ingela Brimberg’s coming engagements.	Hon låter mig följa med i osäkerheten bakom divans mask. Där, bakom den kavata ytan, får verklighetens handlingar en kännbar påföljd. (...) Långsamt sipprar allt det hon lever för bort. Att få följa den smärtsamma processen så tydligt frilagd som som i Brimbergs Tosca är lika förförande som förfärande. Från första till sista "Mario" klingar rösten likt en djupröd sammetsridå som sveper sig runt Göteborgsoperans strora salong. Höjden är stor, rik och dramatisk utan att förta subtila nyanser. Det är som balsam för öronen och jag vill bara ha mer. Jag förstår Scarpias åtrå. Brimberg förblir oemotsagd som föreställningens primadonna... ... Detta är Toscas föreställning, men långt mer än bara ett spel. Det är omöjligt att inte känna med Tosca. Djupt rörd lämnar jag salongen för att boka en ny biljett och ta reda på Ingela Brimbergs kommande engagemang.
tidskriften OPERA No.1 2012
Outstandingly emotional Tosca The most charismatic "artist" of the evening is, not surprisingly, the more and more brilliant dramatic soprano Ingela Brimberg’s Tosca. An interpretation which in its terrible, mutually degrading and unmasked encounter with Scarpia makes us tremble and fumble in tears after trust in mankind - just as Puccini in his most creative work strived for. It is incredibly emotional to hear Brimberg’s Tosca when she finally succumbs.	Makalöst känslostark Tosca Kvällens mest karismatiska "artist" är inte förvånande den alltmer lysande dramatiska sopranen Ingela Brimbergs Tosca. En gestaltning som i det fruktansvärda, ömsesidigt degraderande och demaskerande mötet med Scarpia får oss att tårögda skaka och famla efter tron på människan – just så som Puccini i sitt mest kreativa mörkerseende eftersträvade. Det är makalöst känslostarkt att höra Brimbergs Tosca när hon till slut rämnar.
Dagens Nyheter 21 Nov. 2011
Ingela Brimberg is a magnificently shining opera tragedienne. She suffers, loves and hates, her colourful soprano covers all the nuances of the role. Impulsive and temperamental she let her emotions surge in explosive acting, but she also sings with pure, naked warmth and pain of her passion for art and love.	Ingela Brimberg är en magnifikt gnistrande operatragedienne. Hon lider, älskar och hatar, hennes färgrika sopran täcker rollens alla skiftningar. Impulsivt temperamentsfull låter hon emotionerna svalla i blixtrande utspel, men sjunger också med avklarnad värme och smärta om sin lidelse för konsten och kärleken.
Svenska Dagbladet 21 Nov. 2011
as Valentine in Les Huguenots at la Monnaie Brussels: this staging was awarded "Performance of the year" ("Aufführung des Jahres") by the opera magzine Opernwelt
Her rich, dense and dramatic soprano, devoted interpretation and on stage deportment was purely remarkable - a very convincing role portrait. The highlights were both her aria and the great love duet with Osborn in the fourth act, which had all the intensity.	Hennes fylliga och täta dramatiska sopran, hängivna utspel och plastik var rent remarkabelt – ett mycket övertygande rollporträtt. Höjdpunkterna var både hennes aria i tredje akten och den stora kärleksduetten mot Osborn i fjärde akten, som hade allt av intensitet.
tidskriften OPERA No.4 2011
...the swedish soprano Brimberg, whose name should be remembered ... She has not only an enormous voice, combined with a good diction, but as an artist she was more natural, but no less effective.	...la soprano sueca Brimberg, cuyo nombre conviene retener ... No sólo es una voz enorme, pareja, de buena dicción, sino que como artista resultó más natural, pero no menos eficaz.
Mundoclasico.com
Ingela Brimberg had the real measure of the drama with vocal resources to match.
OperaNow Oct 2011
The very first "Valentine" was once sung by Cornelie Falcon, a dark soprano, that had such an impact through this role that the specific type of voice was named after her. Of course I can only imagine how she really sounded, but it is much likely that the Swedish Ingela Brimberg comes very close to her. She has a large, penetrating voice with dark undertones and a strong resonance. In my ears, she was a Valentine out of thousands.	De allereerste ‘Valentine’ ooit werd gezongen door Cornélie Falcon, een donkere sopraan, die zo veel impact op de door haar gezongen rollen heeft gehad, dat dat specifieke stemtype naar haar genoemd werd. Ik kan natuurlijk alleen maar gissen hoe ze in het echt heeft geklonken, maar het is zeer aannemelijk dat de Zweedse Ingela Brimberg daar dichtbij in de buurt komt. Zij beschikt over een grote, zeer doordringende stem met donkere ondertonen en een zeer sterke resonantie. In mijn oren was ze een Valentine uit duizenden.
www. operamagazine.nl 27 juni 2011

as Salome at Teatro Verdi in Trieste (title role):
"...a stunning Salome, capable of rising vocally with ease, and virtuosically rendering all the turning points of the shifts in mood of the caracter: was interpreted by soprano Ingela Brimberg."	"…una splendida Salome, capace di salire agilmente con la voce e di rendere tutte le peripezie virtuosistiche dei mutamenti d’umore del personaggio: la interpreta il soprano Ingela Brimberg."
www.gbopera.it March 2011
Grandiose: "Salome" "Ingela proved to be a true dream cast in the title role: full of temperament and agility, as well in her bright dramatic soprano as in her physical expression, the young Swede is an event."	Grandios: "Salome" "Ingela erwies sich als wahre Traumbesetzung der Titelroll: Temperamentvoll und wendig, sowohl in ihrem strahlend-dramatischen sopran als auch in der Körpersprache ist die junge Schwedin ein Ereignis."
Kronenzeitung 14 March 2011
"As Salome, Swedish Ingela Brimberg stands out; strong character, generous voice, able to juggle in the violent mood swings."	"Quale Salome svetta la svedese Ingela Brimberg, carattere forte, voce generosa, in grado di destreggiarsi nei violenti sbalzi d'umore."
Il Piccolo 14 March 2011
..Swedish Ingela Brimberg faced the difficult role, armed with a passionate and seductive singing of great exquisite, flawlessly in search of extreme emotions and an impossible love.	.. la svedese Ingela Brimberg ha affrontato il difficile roule con l'arma diun canto ardente e seduttivo di gran squisita, alla ricerca di emozioni estreme e di un amore impossibile, senza cedimenti
Messagero Veneto 14 March 2011
as Manon Lescaut (title role) at Den Jyske Opera:
"Carrying the performance was mainly Ingela Brimberg in the title role. Her voice is perfectly placed and she has the quality, so important for a Puccini soprano, to possess a dense and mellow mid-range which she is able to carry into the higher range with sublime effect. Such brilliant Puccini singers are certainly not common."	"Den som främst bar upp föreställningen var Ingela Brimberg i titelrollen. Hennes röst sitter perfekt, och hon har den för en Puccinisopran så viktiga egenskapen att ha ett tätt och och fylligt mellanregister, som hon kan bära med sig upp i höjden med sublim effekt. Så briljanta Puccinisångerskor är verkligen inte vanliga."
tidskriften OPERA No.5 2010
"Ingela Brimberg is vocally brilliant in the part of Manon. Without forcing she shines clearly through the orchestra, with a sound that makes listening to Puccini a true experience."	"Ingela Brimberg er sangligt strålende i Manons parti. Uden at forcere lyser hun klart igennem orkestret med en klang, der kan gøre det at lytte til Puccini til en oplevelse."
Århus Stiftstidende 11 October 2010
"Musically, the Jyske Opera's production of Puccini's "Manon Lescaut" is excellent... Ingela Brimberg in the title role glowed more and more, scenically as well as vocally. At the premiere Ingela Brimberg showed herself fully capable to make the whole opera culminate in the pathos and despair of her death aria."	"Musikalsk er Den Jyske Operas turneproduktion af Puccinis “Manon Lescaut” glimrende … Ingela Brimberg i titelrollen brændte mere og mere igennem, scenisk som sangligt. Og ved premieren viste Ingela Brimberg sig her fuldt ud i stand til at få hele operaen til at kulminere i dødsariens patos og fortvivlelse."
Jyllandsposten 10 October 2010
"Ingela Brimberg, who has a rich, creamy soprano, manages to let Manon evolve from a scheming gold digger into a genuinely loving and remorseful woman."	"Ingela Brimberg, der har en fyldig og karamelagtig sopran, formår at lade Manon udvikle sig fra beregnende golddigger til en oprigtigt elskende og angrende kvinde."
Fyens Stiftstidende 11 October 2010
as Anne Pedersdotter (title role) at The Bergen International Festival (Festspillen in Bergen):
"... strong leading roles. Ingela Brimberg as Anne glittered and glowed in her forbidden attraction"	"...sterke hovedrolleinnehavere. Ingela Brimberg som Anne glitret og glødet i sin dragning mot forbudte følelser"
nrk 31 May 2010
"...highlight Ingela Brimbergs strong role interpretation. She carried the production... We see goodness och evil, side by side and in the same person. For Anne Pedersdotter is not about witch burning, but how we relate to our own sins, evil thoughts and desires. That is a matter from which good drama arises."	"...trekke fram Ingela Brimbergs starka rolletolkning. Hun bar oppsettningen ... Vi ser godhet och ondskap, side om side og i samme person. For Anne Pedersdotter dreier seg ikke om heksebrenning, men om hvordan vi forholder oss til våre egne synder, onde tanker og begjaer. Det er et stoff mye god dramatikk er laget av."
Aftenposten 30 May 2010
"The lead part, as Anne Pedersdotter, was elegantly and dramaticly sung by the strong Swedish soprano Ingela Brimberg."	"Hovedrollen som Anne Pedersdotter ble sunget flott og dramatisk av den sterke, svenske sopranen Ingela Brimberg."
Bergens tidene 30 May 2010
"... there is something bold and refreshing about a score that flits freely between melodramatic austerity reminiscent of an Eisenstein movie soundtrack (characterised by unmistakable shades of Shostakovich, Hindemith and Weill), and moments of deep-seated Romanticism that give Wagnerian weight to the sung line and its pulsating underscore. One such Wagnerian moment was enhanced on Friday by the ghostly appearance beyond the castle backdrop of a tall ship gliding silently into Bergen Harbour – a magical effect, perfectly timed, that no amount of deliberate planning could ever have achieved. On the other hand, the casting of Swedish soprano Ingela Brimberg was no accident. Her powerful performance in the title role – absorbing and emotive – served to fire up gutsy support around her"
The Scotsman 1 June 2010
"Under the direction of Peter Szilvay and outstanding Scandinavian soloists, including soprano Ingela Brimberg as Anne Pedersdotter, the Braein opera consists of musical passages of great beauty and extraordinary dramatic intensity. This weekend's outdoors performance was a magical moment ..."	"Bajo la dirección de Peter Szilvay y con destacadas voces solistas escandinavas, incluida la soprano Ingela Brimberg como Anne Pedersdotter, la ópera de Braein suma a pasajes de gran belleza musical una extraordinaria intensidad dramática. La representación, este fin de semana, al aire libre tuvo un momento casi mágico..."
El Confidencial 30 May 2010
as Elettra in Idomeneo at Den Jyske Opera:
"... delight at some very fine singing. Above all, at Ingela Brimberg 's absolutely magnificent Elettra. The span of the part presents no problem for her. Her voice is glowing with pure rage, just like it should in a genuinely good Elettra."	"...glädjas åt mycket fina sångarinsatser. Framför allt åt Ingela Brimbergs alldeles magnifika Elettra. Några problem med spännvidden i partiet har hon inte. Hennes röst glöder rent furiöst precis som den ska göra hos en riktigt bra Elettra."
tidskriften OPERA No.2 2010
"Some of Mozart's most wonderful music with delicate and vibrant beauty at the Jyske Opera. It is as always in Idomeneo primarily the ladies' night. Mozart was more generous to them [...] Electra is a fascinating character. She can be violent in her jealousy, dramatic in her defeat, but also sensitive in her love for Idamante [...] Ingela Brimberg got it all through and became my favorite "	"Noget af Mozarts mest vidunderlige musik klinger med sart og levende skønhed på Den Jyske Opera. Det er som altid i Idomeneo først og fremmest damernes aften. Mozart var mere gavmild mod dem end mod herrerne [...] Electra er en spændende figur. Hun kan være voldsom i sin jalousi, dramatisk i sit nederlag, men også følsom i sin forelskelse i Idamante [...] Ingela Brimberg fik det hele frem og blev min favorit af alle."
Morgenavisen Jyllands-Posten 8 February 2010
as Katja Kabanova at Göteborgsoperan (title role):
"In this thin, abstract atmosphere, Ingela Brimberg still manages a colossal performance as Katja. With her creamy, dark-toned soprano, her singing rings true throughout the entire vocal range. A role interpretation that single-handedly captures Janácek’s feeling for those moments when words stick in your throat out of shame. Or when they are flung towards space out of neverendingly melancholic yearning. As in the awesome scene towards the end when Katja, alone on the bridge, calls to her own life: "Answer me!" "	"I denna tunna, abstrakta luft gör ändå Ingela Brimberg en kolossal prestation som Katja. Med en krämigt mörktonad sopranklang som klingar lika bra i alla register. En rollgestaltning som helt på egen hand fångar Janáceks känsla för de ögonblick då orden grusar sig i munnen av skam. Eller då de slungas mot rymden av en oändligt sorgsen längtan. Som i den oerhörda scenen mot slutet då Katja ensam på bron ropar till sitt eget liv: ”Svara!” "
Dagens Nyheter 6 April 2009
"Ingela Brimberg, who gave a touching performance as Jenufa at Norrlandsoperan a few years ago, is quite magnificent in the title role. Her Katja is at breaking-point and mentally fragile right from the start; trapped in a disconsolate women’s life, hectored by her dictatorial mother-in-law. Brimberg’s sings with a frantic tone; the love scene with Boris evoking both passion and relief. Increasingly overheated, she is torn apart by pangs of conscience and guilt. Brimberg charges her voice with ecstatic yearning and burning desperation; heartbroken and despairing, her Katja flings out the music towards eternity, before throwing herself into the whirlpools of the Volga."	"Ingela Brimberg, som gjorde en berörande Jenufa på Norrlandsoperan för ett par år sedan, är helt lysande i titelrollen. Hennes Katja är på bristningsgränsen och psykiskt skör redan från början; instängd i ett tröstlöst kvinnoliv, hunsad av sin diktatoriska svärmor. Brimberg sjunger med febrig klang, kärleksmötet med Boris blir både passion och lindring. Alltmer överhettad slits hon sönder av samvetskval och skuldkänslor. Brimberg laddar rösten med extatisk längtan och brännande desperation; förkrossad och förtvivlad slungar hennes Katja ut tonerna mot evigheten, innan hon kastar sig i Volgas virvelströmmar."
Svenska Dagbladet 7 April 2009
"It is Ingela Brimberg’s Katja that dominates the stage, due not only to Janácek’s deeply empathic focus on the adulteress’ tragedy, but just as much to Brimberg’s formidable vocal charisma and stage presence "	"Det är Ingela Brimbergs Katja som dominerar scenen, delvis tack vare Janáceks djupt empatiska fokusering på äktenskapsbryterskans tragedi, men lika mycket genom Brimbergs formidabla sångliga och sceniska utstrålning."
Expressen/GT 5 April 2009
"Every conceivable role quality is present in Ingela Brimberg’s captivating interpretation of how the shackles of life bring on heartbreak and despair. Her voice glows with passion and tragedy."	"Alla tänkbara rollkvaliteter finns i Ingela Brimbergs fängslande gestaltning av hur livets bojor tvingar fram förtvivlan och desperation. Rösten glöder av passion och tragik."
Sydsvenskan 7 April 2009
"Ingela Brimberg shines in the title role with intence vocal interpretation"	"Ingela Brimberg glänzt in der Titelpartie mit intensiver Stimmgestaltung"
Darmstädter Echo 6 April 2009
as Gutrune (and Rhein daughter) at Den Nye Opera Esbjerg :
"... and Ingela Brimberg as Gutrune beautifully human ...she has a broad singing and acting register"	"...og Ingela Brimberg som Gutrune dejligt menneskelig ... hun har stemme- og skuespillmæssigt et stort register"
Kristelig Folkeblad 3 September 2008
"... interestingly drawn as a barefooted, sensible teenager by the exquisitely singing Ingela Brimberg"	"... intressant tegnet som en barfodet, følsom teenager af den fint sungende Ingela Brimberg"
Jyllands Posten 1 September 2008
"Ingela Brimberg is an exciting new acquaintance in more than one role with her golden, rounded mezzo colour"	"Ingela Brimberg er et spændende nyt bekendtskab i indtil flere roller med sin gyldne og runde mezzoklang"
Børsen 2 September 2008
"Later it is Gutrunes turn, in Ingela Brimbergs convincing appearance and voice, to be overwhelmed with grief, while the betrayed rhein daughters offer gallows humour, performed by Susanne Elmark, Elenor Wiman and again Ingela Brimberg ..."	"Senere bliver det Gutrunes tur, i Ingela Brimbergs sikkert førte skikkelse og stemme, til at skylle mod fortvivlelsens bredder, mens de svegne rhindøtre rummer mere galgenhumor, sådan som Susanne Elmark, Elenor Wiman og igen Ingela Brimberg..."
Weekendavisen September 2008
as Aida at the Malmö Opera: (Papers with nation wide coverage absent since this was a new production of the original, put on at Malmö Opera year 2000 with a different cast)
"Also vocally the performance show a high standard, in particular with Ingela Brimberg as a greatly enchanting Aida with a beautiful shimmering soprano"	"Även vokalt håller föreställningen hög standard med inte minst Ingela Brimberg som en mycket intagande Aida med vackert skimrande sopran"
Hallandsposten 23 May 2008
as Tosca at Ystadsoperan:
"...most brilliant was Ingela Brimberg as Tosca. She is elegant, cool and strikingly modern with a convincing psychological presence in every moment. Her Tosca has a strong integrity, exquisitely balanced between self-control and intense vocal expression, in love, shock, despair and revenge, through her rich and dramatically loaded soprano."	"...starkast lyser Ingela Brimberg som Tosca. Hon är stilig, cool och påfallande modern med psykologisk trovärdighet i varje ögonblick. Hennes Tosca har stark integritet och balanserar suveränt mellan återhållen behärskning och intensiv vokal utlevelse i kärlek, chock, förtvivlan och hämnd genom sin klangrika och dramatiskt laddade sopran."
Svenska Dagbladet 27 July 2007
"...is worth a visit, above all due to Ingela Brimberg's magnificent debute as Tosca. Her soprano has wonderful agility and intensity, and she masters this feared and loved role brilliantly."	"...är värda besök framför allt för Ingela Brimbergs lysande rolldebut som Tosca. Hennes sopran har en underbar spänst och intensitet, och hon behärskar den här fruktade och älskade rollen med glans."
Aftonbladet 25 July 2007
"The prima donna and the villan made the performance shine. Ingela Brimberg's Tosca is most memorable as a vocal delivery: the voice is solid and even, impecable frasing, rich in nuances. This producing a convincing vocal interpretation."	"Primadonnan och boven kom föreställningen att blixtra. Ingela Brimbergs Tosca är minnesvärd som röstprestation: stämman är fast, jämn och skön i klangen, fraseringen oklanderlig, nyanseringen rik. Så skapas ett övertygande vokalt rollporträtt."
Sydsvenskan 25 July 2007
in "Mitt Hjärta Brister" at Folkoperan: (opera collage with music by Purcell, Puccini, Rossini, Mozart, Verdi , Monteverdi....)
" ... and when Ingela Brimberg takes on Verdi - with an ironing board as the only support - it becomes magic, it's as if 'Pace, pace' is something you have never heard before..."	"Och när Ingela Brimberg tar ett järngrepp på Verdi – med en strykbräda som enda stöd - uppstår magi och det är som om man aldrig förr har hört 'Pace, pace' ..."
Svenska Dagbladet 5 March 2007
"Ingela Brimberg sings best of them all"	"Ingela Brimberg sjunger bäst av alla"
Aftonbladet 4 March 2007
"Among the singers Ingela Brimberg was outstanding, with a divine 'Pace, pace' from Verdi's Forca del Destino"	"Bland sångarna sticker Ingela Brimberg ut, med en gudomlig 'Pace, pace' ur Verdis Ödets makt"
nummer.se 5 March 2007
as Donna Anna in Don Giovanni at Folkoperan/Confidencen:
"Most accomplished, with superb intonation, and in all respects outstanding was Ingela Brimberg in her disciplined fury as Donna Anna"	"Mest tonsäker och i alla avseenden suverän var Ingela Brimberg i sitt tuktade ursinne som Donna Anna"
Svenska Dagbladet 1 August 2006
"Ingela Brimberg's Donna Anna is the most impressive. Her aria in the second act is the highlight of the whole performance"	"Donna Anna är den som mest imponerar. Hennes aria i andra akten är föreställningens höjdpunkt"
Aftonbladet 7 August 2006
"Ingela Brimbergs Donna Anna was breathtaking"	"Ingela Brimbergs Donna Anna tog andan ur mig"
Expressen 28 August 2006
as Amelia in Un ballo in maschera (A Masked Ball) at Malmö Opera:
"In the role of Mrs Fonander, Amelia, Ingela Brimberg makes an equally strong contribution. It's an extremely demanding part, where she has to expand from the most intimate pleading to great outbursts whilst retaining warm and shimmering tone. She succeds with this absolutely grandiose."	"Som fru Fonander, Amelia, gör Ingela Brimberg en lika stark insats. Det är ett ursvårt parti, där hon snabbt måste expandera från intimaste vädjanden till stora utbrott med bibehållen varm, skimrande klang. Det klarar hon helt grandiost."
Aftonbladet 12 February 2006
"Brimberg's voice has a wonderful, innocent brilliance which strengthen the symbolism"	"Brimbergs röst har en underbar, oskuldsfull strålglans som förstärker symboliken"
Svenska Dagbladet 12 February 2006
as Jenufa in Janácek's Jenufa at Norrlandsoperan:
"Musical magics. The Norrlandsoperas 'Jenufa' rumbles on high level. Ingela Brimberg is the best... ...Shut in with her foster mother, Kostelnica and overshadowed by a giant crusified Jesus Christ, the frail Ingela Brimberg is moving around dreamlike after giving birth to her child. A touching contrast to the intensity in her voice which owns the complete register from the strong nightmare expression to devout prayer to Virgin Mary."	"Musikaliskt trolleri. Norrlandsoperans 'Jenufa' mullrar på hög nivå. Bäst är Ingela Brimberg. ... Instängd med sin fostermor, Klockarmoran, och en jättelik Jesus-på-korset som hotande skuggar rummet rör sig Ingela Brimbergs sköra och nyförlösta Jenufa som i dvala. En gripande kontrast till intensiteten i hennes röst som äger hela skalan mellan mardrömmens expressivitet och innerlig bön till jungfru Maria."
Dagens Nyheter 9 March 2004
"Ingela Brimberg makes a convincing portrayal of how Jenufa's will to live is broken down when she loses her love and her child, how she is tortured, humiliated, goes through grief and finally can forgive and try to accept reality as it is. In the final scene her voice take on the colour of the same lyrical shine as in her first happiness in love – it’s touching and beautiful."	”Ingela Brimberg gör en trovärdig skildring av hur Jenufas livslust bryts ned när hon förlorar sin kärlek och sitt barn, hur hon plågas, förnedras, genomlever sorgen och slutligen kan förlåta och försöka acceptera verkligheten som den är. I slutscenen låter hon rösten färgas av samma lyriska skimmer som i sin första kärlekslycka - det är berörande och vackert."
Svenska Dagbladet 10 March 2004
"The choice of Ingela Brimberg as Jenufa is splendid. Her lyrical soprano is colorful and certain. The emotional power in her interpretaion is captivating."	"Ingela Brimberg som Jenufa är ett utmärkt val. Hennes lyriska sopran klingar färgstarkt och säkert och känslokraften i rollgestaltningen fängslar."
Vasabladet 22 March 2004
as Tigrana in Edgar by Puccini at Ystadsoperan:
"...Above all Ingela Brimberg as Tigrana possess a convincing power in her expansive mezzo-veiled soprano. The vocal passion in the grand aria in the second act was a vocal highlight this evening."	"...Framför allt besitter Ingela Brimberg som Tigrana en slående kraft och expansivitet i sin mezzoskuggade sopran. Den vokala glöden i den stora arian i sista akten var en musikalisk höjdpunkt denna kväll."
Svenska Dagbladet 21 July 2003
as Konstanze in Die Entführung aus dem Serail with Folkoperan:
"...From the top of the dome, and with the dress strikingly swept in its full and impressing width, Ingela Brimberg fires in addition, with vocal warmth and verve, and great precision in the demanding coloratura, two of Konstanzes most intricate arias."	"Från kupolens krön, och med klänningen anslående draperad i dess fulla och imponerande vidd, avfyrar dessutom Ingela Brimberg med röstmässig värme och bravur, och stor precision i de svårforcerade koloraturerna, två av Konstanzes mest intrikata arior."
Hallandsposten 10 April 2003