Ocean of music

... The former mezzo-soprano Ilona Nymoen shows with an impressive performance of Turandot's great aria the possibilities her voice offers. When she then calls out to Prince Kalaf: Gli enigmi sono tre, la morte una! the voice goes highly dramatic with luminous heights. A great performance ...


To the operettas "The Island of Tulipatan" and "Mr. Cauliflower does the Honour"

Ilona Nymoen (Theodorine/Frau Krauthofer) and Karsten Münster (Romboidal/Herr Krauthofer) impress with their voice and acting. A charming encounter with Offenbach that makes you want more.

Jan Krobot/Zurich

Conductor: Roland Fister, director: Jasmin Solfaghari

"A Masked Ball" by G. Verdi;

Ilona Nymoen shows her Amelia ready for a dramatic attack.

O-Ton, M. Kaminski

Conductor: Florian Erdl, director: Rainer Pudenz, Ricardo: Lemuel Cuento

For the premiere of "Des Teufels Nacht" by Johan de Wit, MAZ

… Ilona Nymoen with condensed gestures that are touching in their immediacy and dramatic vocal use …

Conductor: Thomas Hennig, director: Klaus Lutz Lansemann
Father: Till Schulze, son: Julian Rohde

Potsdamer Neueste Nachrichten on the "Te Deum" by G. Bizet „Te Deum“ von G. Bizet

... Ilona Nymoen with luminous and powerful top tones ... effortlessly skips over the choral and orchestral sound masses. With feeling, carried by a darkened, attractively shading middle register, she performs the aria "Te ergo quaesumus" as a prayer scene à la Donizetti. She is emotionally accompanied by the musicians (= German Film Orchestra Babelsberg). ...

Conductor: Thomas Hennig, Bass: Eric Beillevaire, Tenor: Guillaume François Eric Beillevaire, Tenor: Guillaume François

Berliner Morgenpost: Deep seriousness and merciless absoluteness

This is not least due to a really grandiose Ilona Nymoen as Leonore, in whose finely nuanced, uncompromising acting all the passion, fear and inner conflict of the loving wife, disguised as a man in order to free the prisoner, are expressed.

Conductor: Helmut Weese, Florestan: Alan Razzak, director: Stefan Neugebauer

Umschau: "Brilliant New Year's Concert"

The star of the concert evening was undoubtedly Ilona Nymoen once again. With her nuanced and versatile voice, she always roused her audience to shouts of enthusiasm.

Ilona Nymoen was often given special applause not only because of her outstanding singing skills, but also because of her charm and her gorgeous outfit.

Potsdamer Neueste Nachrichten about the premiere of Humperdincks

"Hansel and Gretel" in the Neue Kammerspiele Kleinmachnow: "The tones of the mother, sung in the highest soprano, are also beautiful when she shakes with anger. ..."

Director: Enke Eisenberg, conductor: Markus Syperek

Hamburger Abendblatt, Norderstedt
All marches and waltzes at the New Year's Eve concerts

The star of the evening was soprano Ilona Nymoen. For example, she sang the Saffí aria “So miserable and so true” from The Gypsy Baron with so much drama in her full, warm voice that she was certain to be applauded.
In any case, the orchestra, conducted by violinist Stefan Czermak, had brought along a sovereign singer with charisma in Nymoen. At home in the dramatic field, Nymoen also brings the soprano notes effortlessly without becoming shrill and always has control of her extensive voice.

She was a heartfelt Micaëla in Georges Bizet's opera Carmen, a triumphant Aida in Giuseppe Verdi's opera of the same name, challenged the audience to hum along as Hanna in Franz Lehár's Vilja song and got along well in a duet with Karl Schneider, the bravura tenor roles delivered.”Text by Heide Linde-Lembke

Südkurier, Constance "Cultural Experience": to "La tragédie de Carmen"

The artist is characterized by an expressive voice and acting talent.

Conductor: Peter Bauer, director: Mauro Guindani

Thurgauer Volksfreund on "La tragédie de Carmen", adaptation of Bizet's opera by Peter Brook

Naturally, the focus is on Ilona Nymoen as Carmen and Jorge Perdigón as Don José. They seemed to be under the spell of the bloody subject, their actions seemed so immediate. Both actors sang as if they were having a speech duel, very close to the acting.-...the intensely acting Ilona Nymoen,. Her Carmen had a vibrant charisma.

Hamburger Abendblatt on “Contemporary Songs from Latin America”

Nymoen's warm, expansive voice is ideal for contemporary works from Argentina, Brazil, Mexico and Venezuela.

Hamburger Abendblatt, "Musical fireworks with classic catchy tunes"

The Hamburg Chamber Soloists had brought along Ilona Nymoen as a soloist. The mezzo-soprano enchanted the audience with her ardent voice and trumped above all with the couplet of Prince Orlofsky from Johann Strauss' operetta "Die Fledermaus".

Nymoen has a stunning penchant for comedy and audibly enjoyed singing both the tipsy Orlofsky and the angry-comic swan song to the man's world of Irmentraut from Albert Lortzing's opera "Der Waffenschmied" with bravura. Ilona Nymoen as Carmen.

Klassik heute, March 2001 to "The Flying Dutchman"

“…very supple and
Ilona Nymoen presents herself as Mary with a beautiful sound.”

Director: Peter Dieter Schnitzler, conductor: Urs-Michael Theus