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Eva Meier’s style and her voice are dramatic, evocative and very sexy.

This programme is a revelation, her stage persona is captivating

Glamour clings to her like a scond skin


A truly exciting performance

Gaze of Marlene, softness of Hepburn
Eva Meier's looks and voice set her squarely in the tradition of the great German cabaret singers. The gaze of Marlene seems to haunt us, but with the softness of a Hepburn, th sound of a Lenya, Lemper and a Dietrich are all somehow part of her own voice. her stage persona is captivating - just by a subtle turn of her head or a shifting of weight Meier becomes an entierly new character... This program is a revelation into a dark world of desperate love, pain and hope.
"Eyes in the Big City" / The Scotsman, 2001

Passionately dramatic
... To hear her spit out the words to mack the Knife, rolling every 'r', is to experience the venom of the song as never before... the Brecht / Fischer contribution, "Jacob Apfelböck", meanwhile, could have been plucked straight from the recent "Tiger Lillies" score from the cult show...
"Weimar Cabaret Songs" - Covent Garden Festival at Royal Opera House / THE STAGE, 2001

Stagey Glamour of another Era
... seamless transitions between songs and shifts of mood, tone and style... demonstrates the richness, depth and wit of their (Brecht/Weill) cooperation ... Eva Meier is a 'chanteuse' to whom the - rather stagery - glamour of another era clings like a second skin ... A treat!
"I'm A Stranger Myself" - Dublin Fringe Festival / THE IRISH TIMES

Reigniting the Weimar Era
Eva Meier sings a repertoire of German cabaret – Brecht / Weill, Spoliansky, Hollaender –so familiar that you think there is nothing more that can be done with it.
But there is, as she demonstrated in her superb performance on the opening night of the Cabaret Festival.
Meier goes beyond interpretation; she recreates these songs, reigniting the characteristic Weimar-era  mix of passion, violence, and cynicism of Mack the Knife or Surabaya- Johnny.
Her engagement with the music is so complete, so imbued with life experience, that the old familiar lines seem as fresh as the day they were written.
She is superbly accompanied by pianist Paul Cibis. This is a very classy act.
Adelaide Cabaret Festival / The Advertiser, June 2007

Love Loss and Laughter
From the moment the beautiful Eva Meier took up centre stage in the banquet Room of the Festival Theatre we were suddenly back in Berlin. Within seconds she had the audience in thrall. She looks like Marlene Dietrich – and speaks a bit like her too. The 
things she said…were just so …European and classy and nostalgic and dreamy.
Sheathed in a modest clinging black top, an elegant black dress and a diaphanous scarf affair she looked gorgeous - with her blond curls - and I liked the way she handled the microphone. Falling in love again, love’s always been my game, speak low when you speak love, love is gold; time’s a thief, and it ends too soon…too soon.
“I fancy a bit of you” and then there was Kurt Weill’s “There’s only one life to live, ”a
positively  powerful poem about getting into your life and enjoying it while you still can. The songs were not all love and pain – Brecht/Eisler’s Money was pretty funny – “don’t gimme the moon gimme a cheque” and “cash makes me randy”.
Although I’ve yet to go to pick up that suitcase in Berlin, I felt I was there with this beautiful Chanson-Sängerin and her wonderful pianist Paul Cibis.
Adelaide Cabaret Festival / The Independent Weekly, June 2007

Review on "Berlin Cabaret Songs"
Tall, beautiful, blonde and endlessly elegant: EVA MEIER belongs to a small group of people – that of the classical “diseuse”. At the same time, the mesmerizing blonde has the perfect age for a woman devoting her life to chanson. Her performances in Berlin, London, or the other major capitals of this world, stand out through thoughtful programmes, in which Meier combines the touching with the frivolous, the known with the new and remarkable. She delivers the turning points with great enjoyment, cheekily steers towards the climaxes and puts a spell on her listeners. The diction is phenomenal, the performance of this clear, young, yet experienced, voice exciting. As you can see – the critic has fallen for her.
You can hear all this on the new CD of the “Berliner Musenkinder”, which centers on the Berlin author Mischa Spoliansky, whose daughter Eva met in London. Their friendship let to this CD. Like the other Berlin composers that were driven away by the Nazis - Waxmann, Heymann and Hollaender - Spoliansky was only of the big stars of Berlin cabaret. Like his colleagues Weill, Eisler and others, he could make a living in England – the others in America. However, unlike Hollaender, whose name remained in people’s memories through the songs of Marlene Dietrich, Spoliansky & Co. are nearly forgotten. For this alone, Meier should get a trophy - for bringing his wonderful songs to life again, just as she presented Brecht and other Berlin songs on two earlier productions of the “Berliner Musenkinder”.
CONOR LINEHAN accompanies this exciting evening congenially with emotional and, when necessary, very dramatic playing. “Leben ohne Liebe kannst du nicht” (“You cannot live without love”) turns into a fatalistic confession, Waxmanns “Allein in einer Großen Stadt” (“Alone in a Big City”) is closely related to the great Greta Keller, “Mir ist so nach dir” (“I fancy a bit of you”) quivers with erotic desire, Hollaender’s “Kleptomanin” (“Cleptomaniac”) (the vehicle for the unforgotten Hanne Wieder) is still effective today, the “Morphiumwalzer” (“Morphium Waltz”), a piano solo piece, is just incredible, Hollaender’s “Raus mit den Männern” (“Chuck out the men”) hilarious. “Eine kleine Sehnsucht” (“A little yearning”) spreads an unusual melancholy, and my personal favourite is the also heavy-hearted, nostalgic “Where Flamingoes fly”, which shows Spoliansky’s English works at their best. All this, paired with the incomparable voice, as refreshing as white wine, of the wonderful Eva Meier – Sigh!
(Translated by Jana Burbach, Hong Kong, the 7th July 2006)