Media

Peter Grimes, Lucerne Theatre

Judith Schmid, with her extensive experience, fresh voice, and phenomenal stage presence, delivers a thoroughly convincing performance as Auntie. (Online Merker)
The Swiss mezzo-soprano Judith Schmid is an exceptionally good-natured Auntie, the landlady of the “Zum Eber” inn, with an intoxicating voice as rich as the liqueur she serves her customers. (loco-Kultur im Netz)
With the necessary vulgarity and enormous vocal resources, Judith Schmid is a compelling Auntie. (Oper Aktuell)
Even smaller roles are excellently portrayed, including Judith Schmid’s performance as Auntie. (Opernwelt)

Le nozze di Figaro, Opernhaus Zürich

Cherubino, to whom Judith Schmid lends a voice that is anything but boyish and exceptionally beautiful, is a dazzling character. Tagesanzeiger

Judith Schmid’s boyish Cherubino is perfectly matched by her powerful mezzo voice. Neue Zürcher Zeitung

Judith Schmid deserves special praise for her portrayal of Cherubino: a resolute young singer who plays a downy young man and, in the course of the fantastic plot, has to dress up as a young lady. Superbly played with all the facets of mind-boggling eroticism and beautifully sung. Zürichsee Zeitung

As Cherubino, Judith Schmid knows how to combine boyish charm with burgeoning eroticism. Various agencies

Cherubino, who chases after every skirt, was in good hands with Judith Schmid and has adolescent fire. Various agencies

Judith Schmid distinguishes herself with particularly well-founded melodiousness in her double role as Polina | Milowsor. She spoils us with her dark-voiced melodiousness, slipping into her two very different roles as if they were everyday clothes, but haute couture at its finest. Zürichsee Zeitung

Carmen, Opernhaus Zürich

The supporting roles are played by a stellar cast: Judith Schmid as Mercédès. Neue Zürcher Zeitung

Faust, Opernhaus Zürich

Judith Schmid makes a strong vocal and theatrical impression as Siébel. Neue Zürcher Zeitung

Manon Lescaut, Opernhaus Zürich

Judith Schmid sings the musician with madrigal-like elegance and moves accordingly. Zürichsee Zeitung
Judith Schmid cut a fine figure both vocally and sensually as Holla. Aargauer Zeitung
Judith Schmid plays Mr. Nordwind’s snowy wife Holla with a clear, bright voice and cool sex appeal. Zürcher Oberländer
Judith Schmid shines as Holla, and not just because of her beautiful glittering costume. Tagesanzeiger

Il Turco in Italia, Opernhaus Zürich

Cecilia Bartoli’s counterpart, the gypsy Zaida, is sung by Judith Schmid from Aargau. She boldly counters the star: her voice has achieved a pleasant fullness, with a sparkling core. Aargauer Zeitung
Judith Schmid, with her crystal-clear and very musical singing, definitely deserves a bigger role than that of Zaida. Basler Zeitung
Finally, Judith Schmid, who as Selim’s lover Zaida is the only one without a comic role, is vocally and dramatically exactly as the poet describes her: beautiful and interesting. Only when Bartoli strikes does she readily respond in kind. Various agencies

Andrea Chénier, Opernhaus Zürich

With her full-bodied, glowing mezzo-soprano voice, Judith Schmid was a true mulatto. Zürichsee Zeitung
Grischa Asagaroff’s production does justice to the plot and characterization of the characters in terms of precision and clarity, and the numerous and important supporting roles are also given individual profiles, in particular the lovable mulatto Bersi, to whom Judith Schmid lends her intense charisma. Neue Zürcher Zeitung

Pique Dame, Opernhaus Zürich

First Judith Schmid blissfully blends her voice with Kozlowska’s, then she surprises us with a cheekily performed serenade. Aargauer Zeitung
An impressive comeback for the young Swiss singer after her serious burn accident. Judith Schmid lends her rich, multifaceted mezzo-soprano voice to the role of Polina in a duet with Lisa. Neue Zürcher Zeitung
Judith Schmid in particular shows once again that she is an asset to the Zurich ensemble. As a confidante, she already provides a musical highlight in her duet with Lisa. Tagesanzeiger

Anna Bolena, Opernhaus Zürich

Judith Schmid is excellent as Smeton. Neue Zürcher Zeitung

Otello, Opernhaus Zürich

All the more gratifying, then, are the accomplished ensemble members, especially Judith Schmid as Emilia: with her rich, magnificent mezzo-soprano voice, she makes a decisive contribution to the ensemble’s effective impact, whether in the quartet in the second act or in the concertato in the third. www.oper-aktuell.info

Palestrina, Opernhaus Zürich

In addition to an ensemble of powerful male voices, the trouser roles of Ighino, the son, and Silla, the student, were particularly impressive: Martina Jankova’s slender, flexible soprano and Judith Schmid’s even warmer-toned, voluminous mezzo-soprano. Girl power in a very male-dominated opera. Neue Zürcher Zeitung

Madama Butterfly, Opernhaus Zürich

One would classify this production as moderately enjoyable in the category “business as usual” if it weren’t for Judith Schmid as the scenically dignified and vocally impressive servant Suzuki. Frankurter Allgemeine Zeitung

klassik-begeistert.de Judith Schmid plays Suzuki, a reserved, sympathetic and foreboding Suzuki with ties to Japanese traditions. Her attempts to prepare her mistress for the impending misfortune fail. Her mezzo-soprano sounds very dark and warm in her prayer for her mistress. The floral duet succeeds wonderfully and in view of what is about to happen, it creates deep compassion. Her voice is very expressive and has a pleasantly dark timbre.

onlinemerker.com Judith Schmid, a long-standing member of the Zurich Opera House ensemble, confidently sings Suzuki.
Judith Schmid has been playing Suzuki since the Pereira era and has a proven track record in staging the role.

Judith Schmid