„With great ovation Countess Mariza, sung by Wiebke Huhs, was welcome on stage. She opened the scene singing the Czardas in a big, warm tempered voice. While she navigated securely and with full voice through this tricky, very difficult aria with all the changes in tempo the choir sang little segments filled with nice stage effects. Mariza finally caught the audience when she started dancing a Czardas with one of the old male choir singers and the whole choir started cheering them on.“
„Both female parts were sung brilliantly, full of emotions and with full voice by the soprano, Wiebke Huhs and the alto, Patricia Wagner.“
[Herrenberg 2014, St. Matthew Passion, Gäubote 14.4.2014]
Wiebke Huhs as Punk Tschirullah – wonderfully out of whack …
[Backnanger Kreiszeitung July 16, 2012]
The Soprano Wiebke Huhs was able to demonstrate the broad range of her abilities in the role of Lola Blau. [...] The Trio reaped lots of applause. This is primarily attributable to the flexibility of Huhs. In the beginning a naïve girl with braids, dreaming of a career in the Theater, over the femme fatale in corsage and suspender belts, to the resigned cabaret artist.
[Esslinger Zeitung February 28, 2012]
She is at home in many roles
[…] Not only with her voice the Soprano impresses […], she also displays a multifarious acting talent. Her repertoire ranges from lovely over combative to flirty. […] Very sexy in corsage and suspender belts Wiebke Huhs appears as Lola after the break and trips flirting through the rows of spectators. Rifts appear when the Soprano movingly sings the Hallelujah, and, searching bottles, mimes the drunk the next moment. An emotional rollercoaster is caused by this one-woman-musical. […] A successful staging with a vocally brilliant Soprano, at home in many musical genres.
[Backnanger Kreiszeitung March 6, 2012]
[…] At his side sing compelling and with beautiful sound Wiebke Huhs (soprano) […], proving themselves both in rich solo-arias and in various cast formations.
[Böblinger Zeitung, March 25, 2010]
The voluminous, powerful soprano of Wiebke Huhs (with cembalist Gunnhild Tönder and Flutists Anabel Röser and Dietlind Kirchhoff).[…]
The artists expressed the grandeur of religious works of Bach, Telemann and Vivaldi to the same degree as the multitude of human feelings in the worldly works: playful brilliance of voice and instruments in Thomas Arnes "The Wood Nymph" or moving intensity in the Eurydice aria of "Mio ben" by Luigi Rossi.
[Badische Zeitung, October 9, 2008]
Wiebke Huhs as Fiordiligi [et al.] – scintillated with clear voices, even in the harder passages of the opera. They did not only sing, they also played their roles consistently authentic.
[Badische Heimat, February 2008]
Pamina as Monroe. […] with wonderfully powerful and emotional tones all singers presented themselves this evening. […] Enchanting!
[Mopo, February 16, 2008]
Wiebke Huhs in the name part loses neither voice nor overview in this play full of intrigues.
Agrippina is displayed masterfully by Wiebke Huhs.
[Die Presse, February 5, 2007]
The prima donna Wiebke Huhs convinces with a well-rounded Timbre.
[Der Standard, February 6, 2007]
As Susanna in the bedroom of the countess preparing a ploy soprano Wiebke Huhs had already set first highlights with her flexible voice. […] as masters of the speed emerged Huhs and, as page Cherubino, Tina Hartmann.
[Wetzlarer Zeitung, September 2, 2007]
A beautiful reencounter was had with Wiebke Huhs as Susanna, cheeky in her performance, resounding in her voice.
[Giessener Anzeiger, September 3, 2007]
The Susanna – Wiebke Huhs – as the countess' waiting maid. She sang with so much temperament – a very clear voice and clear voice control – just wonderful!
[HR 2, Mikado, September 1, 2007]
The luxury cast was completed by soprano Wiebke Huhs and baritone Jens Hamann, both equipped with young voices, in perfect control of their vocal range and always working towards a expressive interpretation of the texts.
[Unterlenninger Zeitung, May 16, 2005]
Désirée Ziechner plays a wonderfully charged Hillary and "Bellacanta" Wiebke Huhs sang much more than just the Pamina. Kudos!
[Hamburger Morgenpost, September 27, 2006]