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When Hadar Enters
Chances are you haven't heard about Keren Hadar, but in Europe she is already considered one of the most promising singers around. In fact, she was even offered a prestigious scholarship by Daniel Barenboim. "I want to be a singer, not a celebrity", she says, and explains how to combine Opera, Rock and Israeli Music. 
Yoav Birenberg, Yediot Ahronoth, 9.7.2008
Lewis Carroll - Nonsense Songs
…later on we heard Nonsense song cycle by Lewis Carroll, with the excellent translation of Rina Litvin and Keren Hadar's singing, who expressed with great talent the combination of the sharp text and Kadishson's music
Danny Bloch, Radio Channel 2, 13.1.09
Abu Gosh Vocal Music Festival 2008 - Time of the Gypsies
...with especially stirring singing of Keren Hadar. Hadar's singing was, almost needless to say, strong, clear and on-the-mark.
Hagay Hitron, Haaretz, 8.6.2008
...the thrilling singing of Keren Hadar. Keren has a dark voice color, deep and intensive, and she radiates theatrical charisma…a performer that gives life to every piece in any style she sings. Keren loves to sing, loves to be on stage and the Gypsy niche that combines music and theater and a character that reminds Carmen, suits her very much.
Ora Binur, Maariv, 8.6.2008
Folk Baroque 2008 with the Barrocade Ensemble
Soprano singer Keren Hadar joined the Barrocade in this project, and sang with a beautiful voice and a lot of grace. Hadar is at her best in this repertoire, theatrically and vocally, and she was charming.
Omer Shomroni, Globes, 23.6.2008
The concert's intention was to reveal the variety of abilities of soprano singer Keren Hadar. Whether her technique when she sings Purcell or Dowland's beautiful songs, or when she delights with Monteverdi's torments of love, produces vocalize from the famous "Take Five"' or ornaments her voice with the eastern sound of ladino songs. This variety was good for Keren Hadar and she was comfortable with the audience and with her partners on stage.
Yossi Shipman, Habama, 25.6.2008
Israel Festival 2008 - Music From Films
...Among others – the excellent Keren Hadar with "here I am" from the film "I am from Jerusalem"...
Yosi Harsonsky, Maariv, 29.5.2008
...Singer Keren Hadar outstood with an exceptionally moving performance of the "Ballad for officer Azulay" that won a grand applause and many tears from the audience...
Danny Spector, Yediot Ahronoth, 29.5.2008
Concert with the Westchester Philharmonic, New York
Keren Hadar impressively belting out the Hebrew
Anne Midgette, The New York Times, 16.5.2005
Classical-Chamber Festival in Eilat
A Star is Born: Keren Hadar
An angel decided one day to roam the earth, and did so till he met a charming young Israeli girl. He planted in her throat a Stradivarius of a voice - the likes of you discover once every ten years. Please welcome her, Keren Hadar - A genuine star with a crystal-clear voice.
"A music critic is a person that awaits miracles", George Bernard Shaw once said. And the miracle happened in the Classic-Kameri music festival in Eilat. On stage stood Keren Hadar and "released" a voice which was all fireworks. It's not just a "nice" or "heavenly" voice. It is a voice filled with rare musical essence. Keren is extraordinary in the "Missa Cubana", Broadway hits and Jazz, and her gentle singing absorbs her listeners with love.
She is still not aware of the fact that her lyrical soprano voice is a unique tool for a worldwide career in major operas by Mozart, Rossini etc. In the middle of the way, between the smile and gentleness stands Keren. I suddenly saw her voice smile, and then roam on to all the corners of human feelings. Sometimes it touches your deepest emotions or goes hand in hand with pure poetry. She has a wonderful presence, and still has to work on technique.
The singers of Israel beware - Keren is breathing down your back. She will go very far. What a revelation.
Hanoch Ron, Yediot Ahronoth, 9.2.2004
...a young singer named Keren Hadar, whose singing quality overshadows our best classical and jazz singers. You should have seen how the audience melted when this Keren opened her mouth. You felt the excitement in the air. Such a revelation happens one in a decade...
Hanoch Ron, Yediot Ahronoth, 13.2.2004
Critiques from Germany
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...Keren Hadar performed as an excellent soloist. Listening to the winner of the Rheinsberg Singing Contest is a real vocal treat. Interesting enough, neither the warm duet with the first oboe in the aria "My soul thirsts for God" from Mendelssohn's psalm "As the deer pants for the water" nor the soloistic supported Schütz-movement crowned her as star of the concert, but two examples of contemporary Jewish Synagogue-Chanting, that emphasized her vocal abilities the most.
...Als überragende Solistin trat Keren Hadar auf. Die Preisträgerin des Gesangswettbewerbs Rheinsberg ist ein stimmlicher Genuss. Doch nicht die warme Zwiesprache mit der ersten Oboe in der Arie „Meine Seele dürstet nach Gott“ aus Mendelssohns Psalmenvertonung „Wie der Hirsch schreit nach frischem Wasser“ oder im solistisch unterstützten Schütz-Satz machte sie zum Star des Konzertes. Es waren die beiden Beispiele aus aktuellem jüdischen Synagogengesang, die ihre stimmlichen Vorzüge zur Geltung brachten. 
Von Matthias Müller, Märkische Allgemeine, 29.4.2008
...Among the performers was the young Israeli Soprano singer Keren Hadar. Gifted with a noble soprano voice, Keren Hadar was the soloist in Felix Mendelssohn Bartholdy's romantic piece "As the deer pants" (Psalm 42) and created an experience of natural wideness together with the choir and orchestra. In between she sang Psalm 71 a-cappella in Hebrew: most fascinating in expression. Ud Joffe and all contributors deserve our respect.
...Zu den Mitwirkenden gehörte die junge israelische Sopranistin Keren Hadar.
Die mit einem edlen Sopran beschenkte Keren Hadar war die Solistin in Felix Mendelssohn Bartholdys romantischen Gänsehaut-Garant „Wie der Hirsch schreiet“ (Psalm 42), die sie gemeinsam mit Chor und Orchester zu einem Erlebnis von natürlicher Weiträumigkeit werden ließ. Keren Hadar brachte zwischendurch a-cappella den Psalm 71 in hebräischer Sprache zu Gehör: expressiv faszinierend. Großer Respekt vor Ud Joffe und allen Mitwirkenden...
Klaus Büstrin, Potsdamer Neueste Nachrichten, 29.4.2008
...and to the promising young Israeli singer Keren Hadar with her brilliant soprano... The soprano, Keren Hadar, was the star of the evening. The harmony of her appearance and emotional musical expression had a strong impact on the audience. Interestingly enough, the recurring Mozart didn’t leave the most emotional feelings with the listeners, but the final song “Jerusalem of Gold” by Israel’s most famous songwriter Naomi Shemer. Accompanied by the harp only, it reached the highest musical intensity and lead to enthusiastic cordial applause after this final performance...
…und der viel versprechenden jungen israelischen Sängerin Keren Hadar mit strahlendem Sopran... Die Sopranistin, Keren Hadar, war dann die Hauptattraktion, und die Übereinstimmung von sehr vorteilhafter äußerer Erscheinung und empfundener musikalischer Ausdruckskraft blieb nicht ohne nachhaltige Wirkung. Tiefste seelische Berührung hinterließ nicht etwa der viel gespielte Mozart, sondern das abschließende Lied „Jerusalem aus Gold“ von der wohl berühmtesten israelischen Liedermacherin, Naomi Shemer. Nur von der Harfe begleitet, wurde hier höchste musikalische Intensität erreicht, entsprechend herzlich war dann auch der finale Beifall...
Great exaltation also excited Keren Hadar: With her technically as well as interpretative, brilliant execution of the waltz of the Musetta from Puccini's "La Bohème" she recommended herself, as well as with the Duett "La ci d'arem la mano" from Mozart's "Don Giovanni".
Keren Hadar's immaculate execution in all respects of the famous Aria "Caro Nome" from "Rigoletto" was another high light...
Große Begeisterung erregte auch Keren Hadar: Mit ihrem technisch wie interpretatorisch brillanten Vortrag des Walzers der Musetta aus Puccinis „La Boheme“ empfahl sie sich ebenso, wie mit dem Duett „La ci d’arem la mano“ aus Mozarts „Don Giovanni“. Keren Hadars in jeder Hinsicht einwandfreier Vortrag von der berühmten Arie „Caro nome“ aus dem „Rigoletto“ setzte einen weiteren Glanzpunkt....
Keren Hadar's lyric soprano (clear peak tones and a cultivated piano) convinced with Musetta's soft, appetent waltz from Puccini's "La Bohème"...
Keren Hadars lyrischer Sopran (quellklare Spitzentöne und ein kultiviertes Piano) überzeugte mit Musettas sanft begehrendem Walzer aus Puccinis "La Bohème"...
Fuldaer Zeitung, 4.1.2008
Keren Hadar sings herself out of her roles. Puccini's Musetta and Verdi's Gilda step back behind the striking appearance of the soprano. All the same she inspires through a faultless technique also at the most delicate places....
Keren Hadar singt sich aus ihren Rollen heraus. Puccinis Musetta und Verdis Gilda treten hinter der auffälligen Erscheinung der Sopranistin zurück. Dennoch begeistert sie durch makellose Technik auch an heikelsten Stellen...
Israeli soprano Keren Hadar outshined the others...
Die aus Israel stammende Keren Hadar stach mit ihrem Sopran ebenso hervor...
Berliner Morgen Post, 12.8.2007
The Israeli soprano surpassed the other women in the role of Nannetta with her clear, clean voice...
Unter den Frauen siegt mit klarem Timbre die Israelin Keren Hadar als Nannetta...
Von Sybill Mahlke, Der Tagesspiegel, 11.8.2007
The highlight of this production is Keren Hadar in the role of Nannetta. She sang the fairy scene in the third act in a wonderful and most exquisite way...
Den wunderbarsten aufschwung nahm Keren Hadar als Nannetta., schwang ihr leichter und doch ganz eigen getonter Sopran in der Feenszene im dritten Akt wunderbar aus - und das trotz zartester Tongebung...
Peter Ueling, Berliner Zeitung, 15.8.2007
...Keren Hadar from Israel as Nanetta delivered a next to perfect balance between mimical ease and vocal expression on stage: "Ford’s daughter" ingrained each note deep into the ear. A brilliant achievement for the music and Keren Hadar...
...Die fast perfekte Balance zwischen mimischer Leichtigkeit und stimmlichem Ausdruck aber brachte Keren Hadar als Nannetta auf die gesamte Breite der Theaterbühne: Die "Tochter der Fords" verwurzelte jede Gesangsnote tief in die Ohrmuschel. Die reife Leistung trug die Musik, und Keren Hadar...
Der Preussenspiegel, 29.8.2007
...Keren Hadar’s vocals were explosive. She will definitely find her way to international operatic stages...
...Für stimmliche Sternstunden sorgte die Israelin Keren Hadar in der Rolle der Nannetta. Die Sopranistin, derzeit Stipendiatin der Barenboim-Said-Stiftung in Berlin, wird wohl noch ihren Weg ins dramatische Fach finden...
...Keren Hadar was convincing with her singing accomplishments…the stars of the evening were Keren Hadar, Genevieve King and Sanja Anastasia....
...Auch Keren Hadar uberzeugten mit einer horenswerten Leistung ... Die absoluten Stars bei den Frauen bleiben aber Keren Hadar, Genevieve King und Sanja Anastasia...
In Bellini's duet of Romeo and Giulietta from "I Capuleti e I Montecchi" she excelled with beautiful and expressive pianos. Cheers and applause for Keren Hadar
Keren Hadar steht diesen tagen als Nannetta in verdis "Falstaff" auf der Rheinsberger Opernbuhne. Im Duett Giulietta/Romeo aus Bellinis "I Capuleti e I Montecchi" kam eine ihrer offensichtlichen starken, ein wunderschones Piano, ein drucksvoll zur Geltung
Keren Hadar from Israel, as the charming and very special daughter Nannetta, overshadowed the rest with her clear and well-tempered soprano
Keren Hadar aus Israel als ganz besonders entzückende Tochter Nannetta aber, die durch die Ränke ihrer Mutter schließlich ihren Geliebten auch heiraten darf, überstrahlte - sozusagen dramaturgisch aus der zweiten Reihe kommend - mit ihrem glasklaren, wohl temperierten Sopran alles und jeden
Keren Hadar gave a moving interpretation in Gilda's aria from Rigoletto by Verdi. She received loud applause
Bewegend interpretierte Keren Hadar vor allem Szene und Arie der Gilda aus Verdis "Rigoletto". Grossen Applaus und Jubelrufe gibt es fur Keren Hadar
Ruth Eberhardt, Ruppiner Anzeiger, 7.7.2007
Then came Keren Hadar, the charming and seductive Nannetta from Falstaff. She was brilliant in Guilietta's aria from Bellini's "I Capuleti e i Montecchi" and in Rosina's coloraturas in Rossini's "Il Barbiere di Siviglia"
Ihnen folgte Keren Hadar, die charmante, verfuhrerische Nannetta im "Falstaff". Sie brillierte in der Matinee mit der arie der Guiletta aus Bellinis "I Capuleti e i Montecchi" sowie mit der koloraturenreichen Cavatine der Rosina in Rossinis "Barbier von Sevilla"
Ruth Eberhardt, Ruppiner Anzeiger, 24.7.2007
On the other hand, the daughter Nannetta livened it up thanks to the great clarity and beauty of Israeli soprano Keren Hadar
Dagegen erfreute Fords Tochter Nannetta - mit großer Klarheit und Schönheit von der israelischen Sopranistin Keren Hadar gesungen
The Israeli soprano’s beautiful pianissimo was electrifying as Gilda from Rigoletto, and she played Muzeta from La Boheme with coquettish lightness
Mit schönen Pianissimi begeistert Sopranisten Keren Hadar als Rigoletto-Gilda, mit koketter Leichtigkeit als Bohem-Musetta
Dark Am I, Israel Festival
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Dark Am I... is a wonderful musical composition. The music of Ella Milch-Sheriff is comprehensive and conquering and the performance by Keren Hadar, with the three excellent young singers and a chamber group of musicians conducted by Tamir Chasson gave us a mesmerizing experience and a wonderful evening to remember.
As the author of Song of Songs wrote about Keren Hadar ' Dark am I but lovely, who is this coming up from the desert, for your voice is so sweet and your face is so lovely'. Indeed this was an evening of sweet voices, of lovely music and of outstanding pleasure...
Danny Bloch, Israeli radio
...Ella Milch-Sheriff composed pleasurable and at times moving compositions in a variety of styles for verses from “Song of Songs” and soprano Keren Hadar, with her decisive stage presence, presented it in a way that brought the audience to a standing ovation before the end of the piece.
The orchestration by the composer was excellent, from the duet between the singer and the French Horn (played by Alon Reuven), to the tempest in the end, where the music describes the state of mind of the woman whose lover had vanished for good.
To sum it up - the various styles the composer successfully merged together to form a fascinating composition that won the audience's hearts, and led to an encore...
Hagai Hitron, Haaretz
She Came With Love. Ella Milch-Sheriff and Keren Hadar took the well known love story and blended it into an exotic and ethnic mix reminiscent of walks in the markets amid the array of colors, tastes and smells, and the mixture of familiar Eastern phrases combined with Kurt Weill and music from the Renaissance. Everything blends together and flows: Song of Songs receives a schematic dimension and the music intensifies the sublime text describing one, larger than life, love story. Sheriff's use of different kinds of drums combined with the English horn, contrabass, viola, cello and piano that chime like sounds from the Far East, and the great aesthetics of the harmonic writing and melodies - are evidence of a tremendous feat.
This piece allowed Keren Hadar to demonstrate all her abilities not only as an opera singer, but also as a master in rock and cabaret styles - and it was performed in good taste by two talented women who merged remarkably well together. This was the Israel Festival’s highlight and an impressive achievement for these two incredible artists.
I must also praise the wonderful musicians, the three male singers and the dedicated conducting of Tamir Chasson. This is a piece about love that was written with love, and will certainly last for many years to come. And the audience? They raved with enthusiasm.
Ora Binur, Maariv, 5.6.2007
The German premiere in presence of the Israeli composer Ella Milch-Sheriff became the highly-acclaimed travel through the history of music.
The personal and musical charisma of the soprano, Keren Hadar, the permanent change of language, and the diverse music styles from the old polyphony to the jazz, have drawn the picture of love that finally triumphs over the horror and the darkness. A marvelous concert evening.
Die Potsdamer Vokalreihe wurde hoch emotional im Nikolaisaal eröffnet Nach der Pause folgte die zuversichtliche Vertonung des "Hohelied Salomos". Die Deutsche Erstaufführung in Anwesenheit der israelischen Komponistin Ella Milch-Sheriff wurde zur bejubelten Reise durch die Musikgeschichte. Die menschliche und musikalische Ausstrahlung der Sopranistin, Keren Hadar, der ständige Wechsel der Sprache und die mannigfaltigen Musikstile von der frühen Mehrstimmigkeit bis zum Jazz zeichneten ein Bild von der Liebe nach, die letztlich das Grauen und die Finsternis besiegt. Ein großartiger Konzertabend.
Matthias Müller, Maerkische Allegemeine, 11.11.2008
The musical fantasy "Dark am I…" by Ella Milch-Sheriff after the Song of Songs was performed as the German premiere. The work written specially for Israeli soprano Keren Hadar concentrates on the female perspective. Oriental and occidental rhythms, traditional and modern sounds broaden the multicultural flair. However, the impression of unity and harmony prevails. How should the Song of Songs sound in our time, if not in as many different languages and styles as here? Above all, the young soprano Keren Hadar combines the eclectic elements into a convincing whole. With her flexible, silvery voice mastering both European operatic singing and oriental sounds, she gives to many-sided aspects of love a universal expression.
Als deutsche Erstaufführung wurde "Schwarz bin ich …", eine musikalische Fantasie von Ella Milch-Sheriff nach dem Lied der Lieder aufgeführt. Das speziell auf die israelische Sopranistin Keren Hadar zugeschnittenene Werk konzentriert sich auf die weibliche Perspektive. Orientalische und westliche Rhythmen, traditionelle und moderne Klänge verbreiten multikulturelles Flair. Dennoch dominiert der Eindruck von Geschlossenheit und Harmonie. Wie sollte das Lied der Lieder in unserer Zeit auch klingen, wenn nicht in so vielen verschiedenen Sprachen und Stilen wie hier. Vor allem die junge Sopranistin Keren Hadar verbindet die eklektischen Elemente zu einem überzeugenden Ganzen. Mit ihrer biegsamen, silberhellen Stimme, die sowohl europäischem Operngesang als auch orientalische Laute perfekt beherrscht, verleiht sie den vielseitigen Aspekten der Liebe universellen Ausdruck.
Babette Kaiserkern, Potsdamer Neueste Nachrichten, 11.11.2008
A Spanish Recital
accompaniment to her singing, the guitarist Liat Cohen, proceeded over continents.
"A lullaby for Saloniki" by Israeli composer Daniel Akiva after the poem of the Israeli Ladino poet Avner Peretz was conceived in the extremely touching way. The song cycle of Manuel de Falla "Siete Canciones Populares Españolas" has found in Keren Hadar an authentic interpreter. Her vocal abilities from the tenderest melody line to the strong and fiery tone of an Andalusian flamenco singer, with the gifted guitar accompaniment, it was in total a high pleasure.
Über die Kontinente ging dann die Reise, unter musikalischer Anleitung von der nicht nur in Potsdam hoch geschätzten Sopranistin Keren Hadar und ihrer Lied begleitenden Partnerin, Liat Cohen an der Gitarre, angetreten wurde.
Im "Wiegenlied für Selanik" wurde vom israelischen Komponisten, Daniel Akiva, nach dem Gedicht des Dichters Avner Perez in Ladino-Sprache der ermordeten Juden von Thessaloniki auf äußerst berührende Art gedacht.
Die Liederreihe von Manuel de Falla "Siete canciones populares espanolas", ursprünglich für Gesang und Klavierbegleitung, fand in Keren Hadar eine authentische Interpretin. Ihre stimmlichen Möglichkeiten von zartester Melodielinie zum kräftigen, temperamentvollen Ton einer andalusischen Flamencosängerin erinnert an die junge Montserrat Figueras aus dem alten Ensemble Hespèrion XX. Und bei der begnadeten Gitarrenbegleitung war das in Gesamtheit ein hoher Genuss.
Matthias Müller, Märkische Allgemeine, 13.11.2008
Keren Hadar's soprano voice went up high and won the hart of the audience. Trough out the concert Hadar demonstrated her vocal ability in extraordinary virtuoso. With her rich voice Hadar switched languishes smoothly and fluently, and adjusted her self perfectly to the guitar.
Yael Menachem, Epoch Times, 25.12.2008
Mordechai Zeira's Songs
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...and this time in Kfar Blum. "Lieder" by Mordechai Zeira. Rafi Kadishson transcribed, played and led, Keren Hadar starred with her captivating, simple singing. It was wonderful and we got to know some of the beautiful unknown songs of Zeira...
Hagai Hitron, Haaretz, 29.7.2005
...and then came Keren Hadar. She sang Zeira more fascinating then all the singers who sang it before her. She shined in her finery and in the depth of her expression...
Hanoch Ron, Yedioth Ahronoth, 31.7.2005
Rafi Kadishson (photo: Gadi Dagon)
...And about the singing: Hadar is simply terrific. She can do whatever she wants with her voice - she changes it without sounding fake and manages to express the text clearly without resorting to speaking. She has a dynamic theatrical ability and her singing is moving from the moment she opens her mouth. I believe this is album is a must-have. I also believe Hadar should sing Kurt Weill, Vivaldi and Mozart's operas. I wish...
Rafi Lavi, Ha'ir, 20.4.2006
...Keren Hadar executes majority of the mission. She is an artist who has an electrifying stage presence. She is also impressive in the album with a pleasant and distinct voice. Dan Ettinger joins the singer in the wonderful duet 'Three Cats'...
Hagai Hitron, Ha'aretz, 22.3.2006
...Singer Keren Hadar and musical director and arranger Rafi Kadishson breathed life back into Mordechai Zeira’s melodies in a wonderful Israeli evening that can appear on any world stage. Keren Hadar has an excellent soprano that is spot-on between the lyrical and the dramatic and masters the dramatic nuances in the lyrics.
The wonderful contribution of arranger Rafi Kadishson, who obviously tried to preserve the original quality of the songs, but who upgraded the Israeli lieder classics through instrumental combinations. Yesterday's performance undoubtedly proved Zeira's work is well worth listening to again. Among the highlights: Hayu Leylot (There Were Nights), to whom Keren gave a Kurt Weill-like dramatic nature, completely opposite to Ester Ofarim's pastoral tranquility. Highly recommended...
Yosi Shifman,
Habama, 30.4.2006
Karen Hadar and Rafi Kadishson at the St Francis' Church, Croatia
Musical contact between East and West.
ROVINJ - The concert of the Israeli soprano Keren Hadar, accompanied by the pianist Rafi Kadishson, was indeed a true auditory and visual enjoyment. With musically developed and melodious voice, Hadar also looks very attractive and has a refined relationship with the audience. By gesticulation, acting and the choice of the red pearl-like costume, she enchanted the Rovinj music audience, and sang three encores
A. Pokrajac, Glas Istre, Croatia, 27.5.2007
Karen Hadar and Rafi Kadishson on the Chinese TV
Rafi Kadishson and Keren Hadar were the first Israeli artists to give a recital of Hebrew songs in the Chinese Television.
Hebrew music for a billion listeners.
Soprano Keren Hadar and conductor Rafi Kadishson will make Israeli history tomorrow in China with a new television music special. On March 24, Hadar and Kadishson will join Chinese musicans by recording the program in China - the first dedicated to Hebrew song to air there. Hadar and Kadishson will perform songs from the musical King Solomon and Shoemaker Shalmay, and songs by Mordechai Zeira, Naomi Shemer and others. Kadishson and Keren Hadar are also set to talk about Israeli and Hebrew music. In addition to their TV appearances, they will perform recitals at the Beijing Opera House and at Beijing University. Hadar and Kadishson recently released an album dedicated to Zeira's music.
Viva Sarah Press, The Jerusalem Post, 23.3.2006
Folksongs - Luciano Berio
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...There stands the young Keren Hadar and all the colors of the human voice resonating from her throat. She sings Luciano Berio's "Folksongs" and it is amazing how she touches the moon, and reaches the stars....
This is a genuine discovery of a fabulous singer and voice and of good taste... Keren Hadar gave an innocent interpretation... She didn't scream or overdo it. She surprised by singing the famous Jewish romance arranged by Oded Zehavi in Berio style. It is even better then Berio, and I am not exaggerating...
Hanoch Ron, Yedioth Ahronoth, 28.7.2005
Have you heard the singer Keren Hadar? If not - you should. This upcoming Tuesday, at 9pm, at the Israeli Culture Channel, she is going to sing "Folksongs" by L. Berio. This is a series of songs from all over the world that got its fame at the time due to Cathy Berberian exhilarating performance.
Hadar sings it even better. Her voice is pleasant and accurate; the sentiment she imparts to the songs - whether sorrow, humor, irony and more - is sophisticated and exquisite.
She doesn't vibrate unnecessarily, neither incites or gets didactic. A tremendous experience. Hadar sang the wanderer song as an encore, and she expressed the longing in the song in a way which makes one want to listen to it again and again.
Rafi Lavi, Ha'ir, 22.9.2005
...The Israeli singer Keren Hadar performed Luciano Berio's "Folksongs". Her performance is excellent: she has a wonderful voice, interpretation full of nuances and a charming stage presence...
Omer Shomroni, Globes, 18.6.2006
Keren Hadar is endowed with a special, not too dramatic but restrained and colorful voice. Keren Hadar was at her best singing Berio's Folksongs. This piece permitted keen Hadar to demonstrate her abilities in drama. Every song got careful pronunciation with the right gestures. Every song was a miniature drama. For that she is worthy of every praise.
Yossi Shipman, Habama, 15.6.2008
Keren, French Horn and Piano Trio
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A combination of three artists brings an intriguing live concert.
French horn player Alon Reuven and pianist Yony Farhi, both excellent musicians, join forces with soprano Keren Hadar - a multi-colored singer, who sings pop, opera and musicals in the same ease in which she approaches the classical lieder repertoire.
The program was put together tastefully with the most beautiful music written to this composition - Auf dem Strom by Schubert, Still falls the Rain by Britten, Dirty Addio by Donizetti and Shuman's Adagio & allegro.
Noam Ben Ze'ev, Ha'arez, 19.2.2006
Soprano and Flute Recital in Abu-Gosh
...Hadar was charming in voice (and in acting). We got refined singing...
Hagay Hitron, Haaretz, 27.5.2004
...Hadar is switching from Irish to French style and on to Spanish and Yemenite in natural flexibility. She is so authentic, full of colors and talents...
Ora Binur, Maariv, 28.5.2004
"The Telephone" by Menoti
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In tonight's concert - the Israel Chamber Orchestra performed "The Telephone" by Menoti. Keren Hadar, who was discovered in this festival two years ago as a newly born star, gave a superb musical-theatrical performance full of vitality.
Ora Binur, Maariv, 3.2.2006
Kurt Weill Songs
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Keren Hadar, Peter Wertheimer and Yoni Farhi
(Photo: Ariel Besor)
...Not long ago, when I praised Keren Hadar, I made a wish that she sing Kurt Weill-Brecht. Well she has already done it. Keren Hadar sings the songs like I expected her to. Not in the Lenia style but not as a singing actress as well. Hadar is an acting singer. Almost all her acting is expressed through her changing and dynamic voice colors. Her voice is enchanting...
Rafi Lavi, Ha'ir, 24.6.2006
...Hadar's singing is very stylish. Her interpretation is aware of the meaning of the texts and is attentive to the music... Hadar gives these modern classics the respect they deserve and she is also talented and brave enough to spice it up...
Gidi Avivi, Haaretz, 13.1.2005
