Bemerkenswert ist dabei, wie klar und doch unaufdringlich seine Wortdeklamation bleibt. Roschkowski gestaltet den Text nicht mit kantiger Schärfe, sondern mit feiner Profilierung; jede Silbe ist verständlich, ohne die Linie zu brechen. So entsteht das Bild eines Lohengrin, der nicht mit äußerem Pathos, sondern mit innerer Autorität wirkt. Besonders im letzten Akt, wenn sich seine Welt langsam von der unseren löst, bündelt sich all dies zu einem Moment großer vokaler und emotionaler Intensität: Die Stimme bleibt hell, durchlässig, fast transzendent – und überstrahlt, ohne jede Anstrengung, alles um ihn herum.
Marko Cirkovic

With such attention to detail, without losing sight of the overarching structures, Hartmuth became a very sensitive supporter of his singers. This production marked a role debut for Mirko Roschkowski. He rose valiantly to the challenges of this most demanding role. The way Hartmuth conducted his music was such that Roschkowski’s voice became one of the components of the music. Just as instrumental groups shift their positions in the overall soundscape from foreground to background, he was fully at ease with his singing since there was never any need to strain and cut through the orchestra — instead, he sang with it. This approach allowed him to use his voice to best advantage throughout, gentle and melodiously lyrical as well as ardently gleaming, or emotionally volatile, full of ups and downs in very quick succession. Roschkowski was able to sustain long arcs just as much as he impressed with robust climactic outbursts without resorting to shouting. His voice sounded elegant and lean, rather than heavy and beefy, and he was able to reach and maintain the highest range, for which there is much need in the role of Paul, with considerable ease, comfort and indeed, so it felt, with particular personal relish.
Daniel Meyer-Dinkgräfe