Gioacchino Rossini : << Petite Messe Solennelle >>

Charlotte Mueller (s) - Annelise Theodoloz (m) - Bernard Richter (t) - Michel Brodard (b)
Genevieve Joerin-Margot (p) - Sébastien Vonlanthen (H)
Choeur de Chmabre de l'Universite de Fribourg - Pascal Mayer (c)
Temple de CH - Bex : 23 December 2000

<< L'alto Annelise Thodoloz, troublante, poignante, envoûte par la sincerite de ses accents,
       en particulier le véhément Agnus Dei" La Presse ( 28 December 2000 ), Jean Cosseto

Hector Berlioz : << Beatrice et Benedict >>

Beatrice : Beatrice Uria-Monzon - Hero : Daneille Streiff - Ursule : Annelise Theodoloz - Benedict : Yves Saelens -
Don Pedro : Bernard Deletre - Andrew  Schroeder - Somarone : Antoine Garcin
Pierre Constant (r) - Jean-Yves Ossonce (c)
Choeur et Orchestre de l'Opera de Nancy et de Lorraine
 Opera  of  Nancy and Lorraine, F -  France : 11, 13, 15, 17 and 18 February 2000
 Theaters  of  Caen and Tours, F - France :16, 17, 31 March, 2 and 4 April 2000

<< The casting is quite fabulous. And we keep the best souvenir from it, especially from the casting
       of the women : Beatrice Uria Monzon has the most perilous role from all as Beatrice, Danielle Streiff
       is nice in the role of Hero, and it is moreover the revelation of Annelise Theodoloz, a women coming
       from CH-Sion with a dark and beautiful voice, who embodies Ursule with a tenderness, with a fondness,
       a beauty of the motion and a class on stage. It is a beautiful moment of music while listening to the
       duet between Annelise Theodoloz and Danielle Streiff, two ladies with totally different voices. And,
       then, the famous trio of Beatrice et Benedict, meaning the three ladies singing together: Two ladies
       with dark voices (Annelise Theodoloz and Beatrice Uria Monzon) and then Danielle Streiff having this
       ease in her voice. It is Jean-Yves Ossonce who conducts with an energetic manner, with a certain poetry,
       a certain lyrism, Berlioz' score. The Orchestra of Nancy is not a very, very large orchestra, but is doing
       very well. And then it is the happiness with the scenery of Pierre Constant, who is a true man of the
       theater and who enables us to live Shakespeare's adventures. >>
       Carnets de Notes  -  Radio Suisse Romande ( 15 February 2000 ), Antoine Livio

<< The casting is distinguished by a perfect mix of texture, from the dark mezzo-soprano of Ursule
       (Annelise Theodoloz, who we would like to hear again and more often), to the volutes dispensed
       by Hero (Danielle Streiff), to the lightness of Bendict (Yves Saelens) and the verve of Somarone
       (Antoine Garcin). As to Beatrice, it returns to the dramatic temperament of the well-named Beatrice
       Uria-Monzon.>> Scènes Magazine (Genève) - Pierre-René Serna

<< As much as the vocal security of the interprets is undeniable, as much as the elocution of certain
       singers is not the very best. This is not the case for Yves Saelens  ( Benedict with a laudable vocal
       frankness), Annelise Theodoloz ( Ursule with somptuous  low  notes), Antoine Garcin and Bernard Deletre
       ( savouries Somarone and Don Pedro ). >> Les Echos - Michel Parouty

 << ... We are remembering the duet with her waiting-maid Ursule ( Annelise Theodoloz with the generous
       timber. ...>> Diapason - Michel Parouty

<< Beatrice et Benedict should probably be the most performed of Berlioz's operas, with its small-scale
       requirements and uncomplicated textual history, but it remains as rare an item as the monumental
       Les Troyens and the rollicking Benvenuto Cellini. It is also difficult to stage because of the extensive
       spoken dialogue and finding the right tone. Director Pierre Constant did a good job of the former, but
       fell apart when the music started, with a staged overture in semi-obscurity, the men doing a soft-shoe
       routine and the women rolling around the floor. Fortunately, Jean-Yves Ossonce had the Orchestre de
       Nancy playing well above their customary level, while Beatrice Uria-Monzon took total charge of the stage
       as Beatrice. Danielle Streiff's Hero may have lacked the requisite ease in coloratura, but the way she
       blended with Annelise Theodoloz's Ursule in the ensembles was adequate compensation. Unfortunately,
       Yves Saelens (Benedict) found it difficult to liberate his tenor from a constricted throaty sound, though
       the occasional moments we were able to hear him clearly showed that there is some promise. >>
     Opera Diary January / February 2000, Joel Kasow

<< ... Hero is the principal personage of the first act : Danielle Streiff embodies Hero avec a mastered
       fragility, and a clear voice, which suits her more for her aria as for the nocturnal duet, where the full-bodied
       timber of Annelise Theodoloz takes sometimes the lead. It is in the trio of the second act where this bouquet
       of voices reaches if not the fusion, at least the most beautiful balance. ...>> Opéra International -
       Christian Wasselin

Johann-Sebastian Bach : << b Minor Mass >>

Isabelle Eschenbrenner (s) - Annelise Theodoloz (m) - Etienne Lescroard (t) - Jacques Bona (b)
Le Diapason Lyon - Le Mercure Galant - Bernard Tetu (c)
Basilique St/Martin d'Ainay, F - Lyon : 1-2-3 December 1999

<< Indeed a very beautiful timber. This is a tremendous voice. >> Le Monde / France Musique -
       Renaud Machart

Charles Gounod : << Requiem >>

Quatuor Sine Nomine - La Maitrise Saint-Pierre-aux-Liens - Pascal Mayer (c)
 Church of Saint-Pierre-aux-Liens, CH - Bulle : 21.11.1999

<< Annelise Theodoloz is in possession of a true carnal mezzo of a beautiful sensuality. Her round timber (but
       never tubed as numerous of her colleagues do) has a rare and precious grain. >> La Liberte - Thierry Dagon

Giovanni Battista Pergolesi : << Stabat Mater >>

Orchestre de Chambre d'Aigle - Theo Gaffner (c)
 Church of CH - Aigle and Temple of CH - Bex : 19 & 20.06.1999

<< The two soloists have greatly contributed to the success of the evening. ... The mezzo-soprano Annelise
       Theodoloz - a very fluttering timber of voice, close to the alto - thrilling of intensity and ardour, shares with
       eloquence in the sourrounding pain. >> La Presse Riviera/Chablais - Jean Cossetto

Alexis Emmanuel Chabrier : << L'Etoile >>

Lazuli : Sophie Marilley (m) - La Princesse Laoula : Celia Cornu Zozor (s) - Aloes : Annelise Theodoloz (m) -
Ouf 1er : Philippe Noncle (t) - Herisson de Porc Epic : Philippe Renaud-Danthe (b) - Siroco : Guillaume
Crausaz (b) - Tapioca : Emilio Gonzalez (t) - Le Chef de police : Thomas Israel (recitant) - Gisele Sallin (r)
Orchestre de Chambre de Geneve - Laurent Gendre (c)
 Opera of Fribourg : 31.12.1998, 2 - 4 - 6 - 8 - 10 - 13 - 15 - 17 - 19- 23.01.1999, 7 & 13.02.1999

<< With her warm timber, and large voice, it is indisputable that the Aloes of the mezzo-soprano Annelise
       Theodoloz dominates the interventions of the Princess Laoula, and much more those of Lazuli, who pains to
       transmit to the public the heroe they wanted to see. >> La Liberte - Antonin Scherrer

<< ... and his wife Aloes, thursty of adventures, interpretated by Annelise Theodoloz, who brings with her a
       very fine scenic play and a superior quality of a mezzo-soprano >> Der Bund - tt

<< Annelise Theodoloz sang in the role of Aloes with a powerful mezzo-soprano voice. She is  tremendously
       musical. With her sense of humour, she imposed herself immediatly to the public. >>
       Freiburger Nachrichten - JL

George Frideric Haendel : << Alcina >>

Alcina : Yvonne Kenny (s) - Ruggiero : Sophie Pondjiclis (m) - Morgana : Christine Brandes (s) - Bradamante :
Annelise Theodoloz (m) - Oronte : Simon Edwards (t) - Melisso : Gregory Reinhart (b) - Oberto :
Helene Le Corre (s) - Carlos Barcena (r) - Herve Niquet (c)
Choeur et Orchestre Symphonique et Lyrique de Nancy - Solistes du Concert Spirituel
 Opera de Nancy et de Lorraine, France : 3-5-8-10-13.11.1998

<< ... The success is also due to the coherence of the troupe: very experienced soloists such as ... the
       impetuous Annelise Theodoloz (Bradamante). ... >> La Tribune 6 & 7.11.1998, Olivier Olgan

<< ... In this distribution, the women are clearly dominating with the solid Bradamante of the alto Annelise
       Theodoloz. ... >> Le Républicain Lorrain 12.11.1998, G.M

<< ... Annelise Theodoloz, a very promising mezzo-soprano. ... >> Le Diapason - December 1998,
       Ivan A. Alexandre

<< Productions of Handel's operas are sufficiently rare, and successful productions even more rare, that we
       can welcome this Alcina, even with plentiful misgivings. Taking advantage of the regional government's
       sponsorship of Herve Niquet and Le Concert Spirituel, the Opera de Nancy allowed him to inculcate the
       Orchestre Symphonique et Lyrique de Nancy with baroque music practices. Carlos Barcena's staging could
       have used a bit more depth and tried harder to bring some basic principles of stagecraft across to the least
       experienced members of the cast. The sets of Jean-Jacques Le Corre and costumes of Dominique Burte
       were further positive elements to which must be added the computer-generated imagery of Marc-Joseph
       Sigaud that supplied some of the requisite magic touches specified in the libretto. Unfortunately, Yvonne
       Kenny in the title role had difficulty focussing her voice, so that only at rare moments was her dramatic
       engagement matched by comparable vocalism. Sophie Pondjiclis's Ruggiero had the measure of her role,
       sufficiently at ease in the higher reaches of what is essentially a soprano role, but with sufficient reserves
       at the lower end of her register. Annelise Theodoloz's plummy contralto suited Bradamante as did her slim
       figure, while Helene Le Corre made the most of Oberto's three arias.Simon Edwards's inelegant tenor and
       Gregory Reinhart's hollow-sounding bass rounded out the cast. Despite the carping, an enjoyable evening. >>
       Opera Diary November 1998, Joel Kasow

Reichel : << Te Deum >>   /   Ludwig van Beethoven : << Missa in C >>

Societe chorale de Neuchatel - Orchestre de la Ville de Fribourg - Gilbert Bezençon (c)
 Church of CH - Chatel St-Denis et Temple of Bas de CH - Neuchatel : 15-16.11.1997

<< The "Te ergo quasumus", tender dialogue between the soloist and the oboe, with a very warm restraint,
       have vibrated full of intense emotion... Annelise Theodoloz, a very powerfull mezzo-soprano, who knows
       brillantly to impose herself. >> L'Express - Alain Corbellari

Pergolesi : << Stabat Mater >>

Collegium Musicum St-Gallen - Mario Schwarz (c)
 Church of CH - Arborn : 28.03.1997

<<... As a lyric critic, I hear many, many singers when being at Bayreuth and Verona. But I never ever
       listened to such a tremendous beautiful musical line, expression, and ... voice as yours ! >> M. Rutz

Johann-Sebastian Bach : << Komm, Du suesse Todesstunde >> (Cantata)  /  
Michael Haydn : << Jubilaeums-Messe >>

Collegium Musicum St-Gallen - Choeur Novantiqua - Mario Schwarz (c) & Bernard Heritier (c)
 Church of CH - St. Fiden / SG and Church of the Jesuites, CH - Sion : 01-02-03.11.1996

<< Let us quote the celestial Cantus firmus from the sopranos in the jewel-case of the warm voice of the alto
       Annelise Theodoloz. >> Nouvelliste, amd

Gian-Anton Derungs : << Tschun canzuns religiusas >>

Collegium Musicum St-Gallen - Mario Schwarz (c)
 Cathedrals Saint Gall & Salzburg : 14.09.1996 et 28.09.1996

<< The composition "Tschun canzuns religiusas" by Gian Antoni Derungs was very expressive. The composer
       transposed religious melodies of his country for voice and chamber orchestra. These were sung by Annelise
       Theodoloz with the smooth and noble voice of her alto. These five melodies, with their sensitive and pious
       arrangement, could become a true enrichment of the religious music repertory. >> Ostschweiz 17.09.1996,
       Siegrun Schmidt

<< She demonstrated a strong feeling for the right interpretation in the modesty of the melodies, which became
       a real "trouvaille". >> Appenzeller Zeitung - Martin Huesler

Ottorino Respighi : << Lauda per la nativita del Signore >>  /
Franz Joseph Haydn : << Theresienmesse >>

Orchestre de Chambre de Lausanne - Ensemble vocal de Villars-sur-Glane - Jesus Lopez-Cobos (c)
 Opening concert of the Festival of Sacral Music, CH - Fribourg : 05.07.1996

<< As for the soloists, the choice was very convincing . Annelise Theodoloz has a carrying, very present mezzo-
       soprano. Her Marie showed more earthly than heavenly characteristics. >> Freiburger Nachrichten, Jutta Lampart

<< The soloists admirably preformed in the narration of the "Christmas Eve" (Respighi). ... The excellent soloists
       form a quartet rousing continuous emotion (such as in the "Quoniam" of the Gloria, imitating the Angels ' Chorus,
       or the extraordinary "Et incarnatus est" of the "Credo" (Haydn). >> La Liberte - Bernard Sansonnens

Max Reger : << Requiem >>

Orchestre de la Suisse Romande - Choeur du Chant Sacre de Geneve - Didier Godel (c)
 Victoria Hall, CH - Geneve : 08.06.1995

<< I was particularly impressed - presumably like the audience - by your commitment in this great work of
       Max Reger. You rendered the essence with much sobriety, a happy contrast with the expressionist orchestration.
       Bravo, dear Annelise! Continue serving music, the only real thing. And keep that profound smile the audience
       loves so much. >> Personal letter 17.06.1995, Michel Hostettler, Swiss composer

Felix Mendelssohn Bartholdy : << Lass ' o Herr, mich Hilfe finden >>  /  
Wolgang Amadeus Mozart : << Requiem >>

Ensemble Vocal et Instrumental de Lausanne - Michel Corboz (c)
 Church (Collegiale) of CH - Neuchatel : 14.04.1995

<< With Mendelssohn's psalm we discovered the sublime voice of Annelise Theodoloz, an alto with a rich
       and seductive quality of tone. ... Regarding the soloists, the exceptionally talented alto has already been
       mentioned earlier. >> Courrier de Neuchatel - J.-Ph. B

Johann-Sebastian Bach : << Matthaeus-Passion >>

Ensemble Vocal et Instrumental de Lausanne - Michel Corboz (c)
 Abbey of the Chaise-Dieu, France, in the frame of the XXIII Festival of the Chaise-Dieu : 26 & 27.08.1989

<< Whilst some listeners could hardly forget the performers of the " 1985 Bach-Corboz ", they can only bow
       to the vocal quality in range and expression of Bernarda Fink and Annelise Theodoloz, altos. >>
       Loire Matin - Nicole Michalon

Johann-Sebastian Bach : << b-Minor Mass >>
Amsterdam Bach Soloists - Ensemble Vocal de Lausanne - Michel Corboz (c)
 Cathedral of Tokyo: 01.02.89 / Symphony Hall, Osaka : 05.02.89
Johann-Sebastian Bach : << Matthaeus-Passion >>
Amsterdam Bach Soloists - Ensemble Vocal de Lausanne - Michel Corboz (c)
 Suntory Hall, Tokyo: 04.02.89 / Aichi Bunk a Kohdo, Nagoya : 07.02.89

<< The singers are coming from various parts of Switzerland, such as from the Valais with the beautiful alto
       of Annelise Theodoloz, from the German part of Switzerland, as well as from France. Several colleagues
       warned me that the Japanese audience has a preference for international soloists putting on a big show,
       even in a " Passion "! But the audience was stunned by the simplicity of Annelise Theodoloz, of A.C. and C.G.,
       melting with the vocal ensemble and forming a homogeneous and compact choir, then suddenly revealing
       superb soloists with clear-cut personalities. >> 24 Heures - Antoine Livio