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deniz in review

Read press and acclaim for Deniz's recent performances.


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rubria | teatro lirico di cagliari

„Deniz Uzun in the role of Rubria has truly been a discovery, for her technical perfection, vocal impact, finesse of phrasing, and great expressiveness.“


"Furthermore, the contrast with Deniz Uzun's Rubria is splendid, a true discovery in the mezzo-soprano range, with a color reminiscent of Simionato, fascinating for the softness and intensity of her singing.“

rivista di musica

„A pleasant surprise, like Rubia, the Turkish-German mezzo-soprano Deniz Uzun, with a beautiful vocal quality, warm and enveloping, well-produced and well-projected, precise phrasing and diction, emotionally charged and vibrant accents, and an elegant stage presence.“

i teatri dell'est

„The sweet duet with the dying Rubria, portrayed by Deniz Uzun, is captivating: the mezzo-soprano captivates with a soft singing style that perfectly suits the role of a poor, defenseless girl destined to die.“



mendelssohn | rundfunk symphonie orchester berlin

"Deniz Uzun contributes a powerfully vibrant mezzo-soprano.“


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luigia | opernhaus zürich

"Deniz Uzun’s mezzo soprano is almost too rich and beautiful for the part of Luigia.“

i hear voices


waltraute | müpa budapest

"Deniz Uzun showed off an earthy, powerful mezzo as a highly dramatic Waltraute.“


 “From the new faces, we must mention Deniz Uzun as Waltraute. Her ability was praised in the Eva Marton Competition in 2021 and now she mesmerized the local audience again at her first performance of the role. The firm singing based on the accurate technique of breathing, showing equal brilliance in every register, guarantees the future of this exceptional talent.”

"Deniz Uzun a "new" Waltraute, very committed and singing with a powerful mezzo.“

online merker

ongaku no tomo

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Orlofsky_Fledermaus at Teatro Carlo Felice


orlofsky | komische oper berlin

“Deniz Uzun's Orlofsky, with impeccable singing and acting, avoided the vulgar rudeness that very often characterizes the character.”

gb opera

“With a dark and round sound especially in the central tones, the transgender role is also well characterized, Prince Orlofsky by Deniz Uzun, bored and superficially rich, with some great Gatsby traits.”

opera libera

"Deniz Uzun as Prince Orlovsky, on the other hand, is very convincing."

online merker



recital | capuchos music festival

„... the evening begins with perhaps the most well-known of all "summertime" melodies, the famous Nuits d'été by Berlioz, the first two songs of which she interprets, "Villanelle" and "Le Specter de la rose", before interspersing them with German lieder, the word Sommer of which appears in the title, to finish by “Sur les lagunes” and “L'Ileconnue”, two others of the six melodies of the Berliozian cycle, which here conclude the first part of the concert. In impeccable French, without the slightest hint of a Germanic accent, this singer, whom we did not know, acts as a revelation: at ease in all registers, she knows how to put her very homogeneous voice, with a beautiful round and dark timbre to the times, at the service of expression, fine and sensitive, accompanied by very beautiful musical intentions, between shadows and lights as the climates follow one another. And in its own language, that of Goethe, through Brahms' Sommerabend, Berg's Sommertage, or even Alma Mahler's Laue Sommernacht, the text stands out with even more precision, for an impeccable implication, and in addition to a magnificent mezzo part, she displays there, for our greatest happiness, the dark colors of her bass part, when nostalgia and languor prevail over all the rest.

And in a second part, after French and German, it is with the same ease and success that she expresses herself in the languages of Cervantes then Shakespeare, first with the rare Cinq Chansons nègres (1945) by Montsalvatge (1912-2002), this cycle by the Catalan composer who wanted to pay homage to the island of Cuba and to the Afro-Cuban rhythms from which many emigrants had landed on the Catalan coasts at the end of the 19th century. We can count on the explosive temperament of the mezzo and on her skin-deep sensuality to put a spell on these pieces as rare as they are bewitching, and which in any case have a great effect on the Portuguese-speaking public who give it a warm welcome. at the end of the collection. And it is with four songs by Gershwin that the evening ends, the famous The man I love or Summertime, here also delivered with a lot of sensuality and charm, and by interpreting these "hits" in a violently syncopated way, which allows it's up to the artist to hold on to you, never to let go, from the very first bars. But we prefer the rarest Vodka, which Deniz Uzun sings while looking totally drunk, with devastating humor and self- mockery, emphasizing the word "vodka" which she pronounces each time with a strong Russian accent, doubling the comic effect of this air, for which she comes out of her reserve to gratify us with all her talents as an actress. As a result, it is on an opera stage that we dream of hearing her now, as she was flying the next day to Budapest and its Wagner festival, where she will perform the role Waltraute in  Gätterdämmerung.”


meg page | komische oper berlin

“extremely worth listening to Meg by Deniz Uzun (a mezzo, cool and warm at the same time and I have to hear it again)."

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Una Donna_ Intolleranza at Komische Oper Berlin6


woman | komische oper berlin

“The woman becomes the voice of the past, repeatedly confronting the fugitive with his own deeds and pointing out that once something has happened, it cannot simply be wiped away. Through her expressive approach to this role, Deniz Uzun uncovers traces of the bel canto tradition, which can also be found in Nono, despite all reservations towards traditional opera singing“

neue musikzeitung

“The warm timbre of mezzo-soprano Deniz Uzun, truly lyrical, sings the part of the Woman with rich color, in a phrasing that is always musical, which is a tour de force in such a score.”


"Deniz Uzun lets you hear wonderful soprano tones in the role that is only described as 'a woman'.“

klassik begeistert


recital | inselsommer festival

"The career of the singer Deniz Uzun, who opened the evening, sounds almost like a fairy tale. The German-Turkish artist grew up in Mannheim, where she made street music with her brother and was active in the band Alyuvar. Her great voice and huge talent were discovered and encouraged. She studied in Mannheim and in Bloomington (USA). Today she sings at the Komische Oper Berlin, previously she was a member of the ensemble of the Zurich Opera. She now comes to the Parkinsel with Jon Wassermann, a former fellow student who is actually a specialist in baroque guitar. On the Island-summer he played an electrically amplified concert guitar. Percussion was provided by Cris Gavazzoni, who, like Uzun, has performed at the National Theater Mannheim, Onur Caliskan from Istanbul plays the clarinet. Folk songs from around the Bosporus, songs of Sephardic Jews, art songs and fishermen's songs - the musical spectrum was broad. Common to all was the sonorous and touching voice of the singer, who performed each song with great intensity. She also performed poems set to music by Nazim Hikmet, the legendary innovator of Turkish poetry who was persecuted and imprisoned in his homeland.“

die rheinpfalz



isaura | festival de beaune

"In the role of Isaura, the young German-Turkish mezzo-soprano Deniz Uzun shows multiple qualities, such as a full and colorful tone, a secure projection and a musical sensitivity of the highest quality."


"The mezzo-soprano Deniz Uzun sings the role of Isaura, Amenaide's friend, with a homogeneous voice, soft and resonant, powerful, and all the assurance necessary for someone singing the first words of the opera immediately after the first choral entrance. She masterfully asserts her personality from scene 4 (“Amenaide sventurata!”, illustrating in particular her ease in the low register) then in act II (her dialogue with Orbazzano, and her reproaches: “Trionfa, esulta, barbaro!”)"

forum opera

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landestheater salzburg

Deniz Uzun provides enough reasons for this in the title role. The only guest singer of the evening has the sensuous glow needed for Carmen in her darkly hued, yet flexible mezzo voice, which not only conveys erotic appeal but also inner wounds. Acting wise she is the center of the production, leaving safe ground and using her voice flawlessly even in the - spatial - height. Even the tragic end of the character is embedded in the overall scenic concept.“

salzburger nachrichten

"A guest was engaged for the title role. Deniz Uzun, who will soon join the ensemble of the Komische Oper Berlin, not only has the necessary expressiveness for the sensational Carmen numbers. She brings in nuances, thereby minimizing everything clichéd about this character."

drehpunkt kultur

"Deniz Uzun in the title role is also really irresistible. In the beginning she appears as the unapproachable moon goddess in a white glitter dress and casually sings the "Habanera" in a silvery crescent moon expanded high above the ground."



olga | komische oper berlin

"Deniz Uzun offers a portrait of Olga that contrasts ideally with that of Tatiana: the young girl is both more mature, perhaps also more inconsistent, which is reflected admirably by the stage acting but also by the singer's singing, carried by a warm and velvety voice, with assured projection."


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"Deniz Uzun who sang alongside Cecilia Bartoli in Zurichs’s production of Handel’s Semele under Christie and directed by Robert Carsen, puts the microphones to the test, without saturating the sound, and proving the quality of her voice and technique (and winning her ticket to Paris)."



the third maid | salzburg festival

"There are around those four protagonists many supporting roles, servants, maids, who pass and who have one or two lines: all are in their place. In a festival like Salzburg there is no room for error in any choice of role. The maids of the first scene are really excellent, and we will mention the third maid of Deniz Uzun, with a beautiful projection, a large, meaty voice, that we had already noticed in Zurich where she sang Krista in The Makropoulos affair in fall 2019. We wrote about her: “(she) shows a freshness, a vocal and scenic presence, a very particular energy and intensity. One to be watched."


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"But it is above all the mezzo-sopranos who impress during this gala. Deniz Uzun has a warm timbre and full low register that shines beautifully in the rare Joan of Arc aria in Tchaikovsky's The Maid of Orleans. She is also a remarkable and particularly well-singing Dorabella in the Cosi fan tutte duet."

toute la culture



page | dallas symphony orchestra

"Deniz Uzun’s mezzo soprano was a welcome bit of brazen warmth as Queen Herodias’s page.“

texas classical review

"Mezzo-soprano Deniz Uzun gave us a spitfire but androgynous portrayal of the page, a pants role that is perhaps left open to be any youngster.“

north texas performing arts news

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winner | jurmala, latvia

"There were five others who won special jury prizes which translate into valuable engagements to opera houses around Europe, Russia and South Africa. The German mezzo-soprano Deniz Uzun was the most engaging of them and should, I felt, have captured one of the top prizes. Energetic and coquettish, she flirted her way through Rossini’s “Cruda sorte” from L’italiana in Algeri. And while the tessitura of the part of Isabella is much more suited to a contralto, Uzun proved herself splendidly agile as she dexterously sung the low F as well as the F two octaves higher.“



krista | opernhaus zürich

„As Krista, Deniz Uzun brought a sappy, orange-toned mezzo and coped admirably with the high-lying tessitura.“


"The young soprano Krista (in the Zurich version she can hold a candle to her idol Emilia with an impressively clearness and power in her voice: Deniz Uzun)"



"Deniz Uzun could prove again that she is a big win for the ensemble."

das opernmagazin

"Deniz Uzun: stunningly rebellious."

klasika plus

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rosette | opernhaus zürich

"Deniz Uzun with her rich, dark mezzo-soprano and timbre which built a perfect base for the funny trio.“

international theatre reviews


ino | opernhaus zürich

"Ino was Deniz Uzun. I was impressed by the true alto quality of her voice, its depth and smoothness, and her great projection.“


"Deniz Uzun was dolled up for her role as Semele’s sister, Ino, and is a Zurich regular. She has a delightful voice and acts convincingly.“

seen and heard international



zelim | opernhaus zürich

"The young mezzo Deniz Uzun (in a pants role as Zelim) had an astonishing warmth and poise to her sound, making me eager to follow her budding career.“

seen and heard international

"The singers all excellent, and Deniz received the biggest applause, it was more the award of Prima inter pares, even if well deserved."


"...and the lonely left Zelim (wonderful and ravishing and pitiful at the same time: Deniz Uzun the whole evening in a black anarchy-streetwear by Karin Jod) lets his depression out  while singing the added aria from the Vivaldi opera "L´incronazione di Dario" full of sadness, though beautiful and excitingly melancholic."


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ronja | opernhaus zürich

"Positively everyone sings without exception understandably every word. The cast is filled with clear and expressive opera voices... In the center certainly Ronja and Birk, though the relative strenght of the voices is set by the voicetypes; Mezzosoprano for the girl and soprano for the boy. With Deniz Uzun and Florie Valiquette this works perfectly. Ronja has the overwhelming strength for her protest and primal scream in the spring forest, but also the golden sound of empathy."

der landbote


l'enfant | opernhaus zürich

"The cast has known and unknown faces, who brought light to the evening and there was no role that had no musical and scenical presence... Deniz Uzun, born in Mannheim, already known from her performance as Ronja the Robber's Daughter, plays extremely believable the reblious child, with an expressive Mezzo Soprano she portrays touchingly the child's restrained emotions of the needs of the adolescence."


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alisa | opernfestspiele münchen

"Also minor roles should not be ignored. The turkish Mezzosoprano Deniz Uzun is a big surprise of the evening. Her voice is huge and adheres in the ear. From her one would like to hear more in the future!"

klassik begeistert


sonyetka | opernhaus zürich

Of the minor roles, several stood out..particularly young alto newcomer Deniz Uzun, displaying a warm chest voice"

seen and heard international

"Listen up to Deniz Uzun with an erotic colored, dark Mezzosoprano in the role of Sonyetka."

oper aktuell

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florence pike | bayerische staatsoper

"From the Young Artist Soloists Deniz Uzun peaks out as the housekeeper Florence. Not only did she fascinate with her voluminous, free sounding, velvet Mezzosoprano, but also did she make us laugh with her portrayal of the extremely morally strict, obedient to her mistress, but actually quite cunning and concentrated on her own interests and pleasure."

der neue merker

"Everyone else is from the Young Artist Program, and one can say that at least 3 of them will make a huge career, not saying that the other ones are worse. But Petr Nekoranec, Deniz Uzun and Marzia Marzo were outstanding. Uzun sings and plays the Stasi like gouvernness, has an already obvious presence. One always pays attention to her. Hearing her, her alto voice is almost a phenomenon, concise, clear and of a volume that you don't associate with such a slim body.”

süddeutsche zeitung

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