Special Project
Acclaim
 
Review: Heartwarming, heartwrenching and life-affirming music Ute Lemper at Stables

The quintessential European Ute is fluent in English, French, Spanish as well as her native German and this gives her work a real authenticity as we explored the seedy underside of the nocturnal world with Jacques Brel's Amsterdam and visit the lonely bars and bistros in the back streets of Paris with a heart rending rendition of Ne Me Quitte Pas.

Peter Ormerod, Milton Keynes Citizen
Cabaret review: Ute Lemper: The 9 Secrets at Cadogan Hall, SW1

Ute Lemper’s shows are never lacking in ambition. Whether she is reinterpreting the poetry of Pablo Neruda, drifting through the twilight world of Charles Bukowski or celebrating Astor Piazzolla’s tangos, the German singer always charts her own path.

Clive Davis, The Times
Ute Lemper at Symphony Space on Friday.
Ute Lemper Seeks Truth and Justice in a Collaboration With Paulo Coelho

"On 'The 9 Secrets,' titles like 'Solitude,' 'Beauty,' 'Movement,' 'Sex,' and 'Love' have a cosmic resonance intensified by Ms. Lemper's sinous droning melodies and chameleonic voice. That voice is an acquired taste. It can rise to a piercing feline cry or subside to a seductive murmur. But in any language, her tone is imperious, her timbre metallic."  

Stephen Holden, The New York Times
Forget the Domestic. Try the Imported. It's Less Fizzy.
"The narrowed cat eyes that suddenly widen into a maniacal blue-eyed stare, the pleated platinum hair of a ’40s femme fatale, the deployment of a voice that can rise to a furious yowl by an imperious diva sheathed in black satin: No expressionistic detail was overlooked in Ute Lemper’s new show, a kind of best-of concert, which began a run at 54 Below on Wednesday evening."
Stephen Holden, New York Times
"Now there's no need to forgive. With Forever Lemper, the queen of interpreters, finally proves herself as a composer. She has taken the love poems of the late Chilean Nobel Laureate Pablo Neruda and let them unfold organically through music.

"Her voice can be brittle or can arch up like a spine above a mattress. It implores and threatens, cajoles and snuggles, laments and smiles, all the while drawing you into her music, as though she is taking your hands and guiding you through a door." Read More...
John Shand, Sydney Morning Herald
The Corrupt World of Then, So Similar to Now
"Wearing a gleaming black cocktail dress, her eyes narrowed to slits, her sleek blonde head thrown back, she embodies the Marlene Dietrich archetype of a forbidding continental temptress who has seen it all."
Stephen Holden, New York Times
Touring Cabaret Capitals With a Polyglot Chanteuse
"With the first song that the German cabaret artist Ute Lemper performed on Thursday night at Zankel Hall, in a program called 'Berlin Nights/Paris Days: The Art of Chanson,' she gave her audience an evening’s worth of intensely expressive singing and riveting drama."
Anthony Tommasini, New York Times
Ute Lemper with Vogler Quartet and Stefan Malzew at Royce Hall
“The beauty of Ms. Lemper’s talent (and the talent of the composers) is that no translation is required. She doesn’t just sing these songs, she performs them. The expressions on her face and the way in which she moves her body tell us all we need to know.”
Los Angeles Magazine
Ute Lemper at the Kennedy Center's Terrace Theater
“Lemper is an absolutely riveting performer. Although her formal training was in dance and theater, it isher richly flexible, multi-hued voice that sets her apart. Applying her spectacular diction to songs inFrench, German, Spanish, Yiddish, Russian, Lunfardo and English, she creates a different sound-worldwith each one, performing with her entire body while standing in one place. When she flavors thedelivery with keening or growling, it sounds as if the composers had meant it that way all along.”
Robert Battey, Washington Post
Poet's Grim Prophecies, With Drama and Music
"Once Ms. Lemper begins singing, her mocking, haughty, Marlene Dietrich-like persona takes over. With her supple voice, she can caress you one minute, then shock you a moment later with horror-movie yowls."
Stephen Holden, New York Times
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