Press review
Last updated: November 2025
Let's highlight Katia Ledoux's performance, which stands out for the beauty of her tone and the elegance of her singing. Sébastien Foucart, ConcertoNet, 05.11.2025
Katia Ledoux is a superb Alise, with perfect vocal technique, projection, and diction
Anne Ibos-Augé, Diapason Magazine, 06.11.2025
Katia Ledoux brings a riveting intensity to the beautiful fire scene, when the philosopher's works are reduced to ashes Clément Garcia, L'Humanité, 06.11.2025
Led by the outstanding mezzo-soprano Katia Ledoux (Alise) [...], the cast is, on the whole, of a high standard Nicolas Blanmont, La Libre, 07.11.2025
[...] but it is especially when listening to Katia Ledoux’s Alise that one begins to wonder. Although she, too, does not have a great deal to sing, the mezzo-soprano manages to bring a naturalness to her singing and a depth of emotion that is hard to find among other artists.
Laurent Bury, Concert Classic, 07.11.2025
The cast is overshadowed by a supporting role, Alise (played by the moving Katia Ledoux)
Pierre Gervasoni, Le Monde, 08.11.2025
Then there’s Alise’s sweeping solo—[beautifully performed by Katia Ledoux]—which, like a grand lyrical invocation, sets Chick’s books ablaze [after he’s just dumped her].
Alexandre Pham, Classique News, 08.11.2025
This change in vocal delivery—which softens the voice to make it impersonal, with a consistently declamatory prosody—nevertheless allows tenor Elmar Gilbertsson, as Chick (Colin’s friend), and the powerful mezzo Katia Ledoux, as his wife Alise, to form a charismatic couple.
Romaric Gergorin, ClassyKeo, 08.11.2025
Katia Ledoux unfolds an enchanting Debussy-esque dialectic, full of tact and sensitivity
Thibault Vicq, Opera Online, 09.11.2025
Mezzo-soprano Katia Ledoux, in the role of Alise, skillfully draws on the richness of her voice and her acting talent. Victoria Okada, Première Loge, 09.11.2025
Katia Ledoux (stately, with a richly coloured mezzo-soprano), together with the rest of the cast, imbued the music with emotional depth, skillfully blending acting and vocally demanding parts.
Roman Osadnik, Polish Opera Now, 10.11.2025
[...] Katia Ledoux’s Alise is thoroughly convincing [...] with her superb and powerful mezzo-soprano voice, which has a voluptuous timbre and a remarkable range Christine Ducq, Forum Opera, 10.11.2025
Chick’s lover, Alise—played by mezzo-soprano Katia Ledoux—manages, even through her mask (she was unwell during the third performance), to let us appreciate the velvety richness and flexibility of her magnificent, masterfully controlled voice, which she fully reveals in her aria—the only one in the entire opera—during which she removes her mask. To protect Chick, who dies at the hands of the SWAT team sent to trample on Jean-Sol Partre’s books, she is the one who starts the fire in Act III—a spectacular vision of the stage ablaze, complete with sound effects (from instruments), a siren, and the rumbling of the timpani, all to great effect. Michèle Tosi, ResMusica, 11.11.2025
Mezzo-soprano Katia Ledoux (Alise) skillfully draws on the richness of her voice and her acting skills.
Katia Ledoux turns out to be a true powerhouse with a powerful voice
Renate Wagner, Online Merker, 02.10.2025
But it’s when Katia Ledoux first takes the stage as Carmen that the evening truly comes into its own: when she sings of the colorful birds of love, she lets her voice ring out to the fullest—with amplification and the band’s backing, the house practically shakes. And for a brief, beautiful moment, you realize what seems so obvious on other evenings that you don’t even think it’s worth mentioning: just how extraordinary it actually is that some of us humans can sing so beautifully. [...] You hear the beauty of an opera—one whose reception has long been distorted by its own hits—with fresh ears and renewed joy.
Georg Leyrer, Kurier, 02.10.2025
The cast is a well-balanced team of charismatic singing performers, each of whom brings their own unique talents to the stage. Katia Ledoux brings her vocal power and the flair of operatic drama to the role of Carmen [...] This ensemble is a stroke of luck. Judith Belfkih, Kronen Zeitung, 02.10.2025
There was chemistry between him and Katia Ledoux’s Carmen; they were clearly meant for each other. Ledoux received a standing ovation even for her first appearance, when she sang a jazz-infused version of the “Habanera.” Her rich soprano voice is well worth every round of applause.
Dávid Gajdos, Die Presse, 02.10.2025
Katia Ledoux portrays a Carmen who is a far cry from the cliché of the seductive femme fatale. She is proud, vulnerable, and free—even beyond death. Sandra, Wiener Bezirksblatt, 16.10.2025
The cast is outstanding—both in terms of vocal performance and character portrayal, that is true for: Katia Ledoux as Carmen Elisabeth Dietrich-Schulz, Online Merker, 28.10.2025
With the fabulous Katia Ledoux, there is a Carmen in the ensemble who can effortlessly take center stage in this new production as well. Joachim Lange, Neue Musikzeitung, 22.12.2025
Mezzo-soprano Katia Ledoux has a smaller role as La Messagiera, but she is a delight to hear and see in it.
Neil van der Linden, BasiaConFuoco, 15.11.2024
Mezzo-soprano Katia Ledoux, as the messagiera—the messenger or narrator—possesses a radiant power in her voice Kester Freriks, Theaterkrant, 16.11.2024
Katia Ledoux gives a brief but stunning performance as the messenger
Peter van der Lint, Trouw, 18.11.2024
Mezzo-soprano Katia Ledoux shone with the poignant eloquence of the excerpt from Peri’s "L’Euridice" that opened the second book Xavier Chester, ÓperaActual, 19.11.2024
Katia Ledoux displays a great deal of character, power, and confidence.
Camille Brossard-Le Tellier, Classique News, 21.11.2024
The chorus and the messenger—played by mezzo-soprano Katia Ledoux in a powerful and captivating performance—remain silent witnesses, seated on benches, facing these horrors.
With Katia Ledoux, Carmen is the vocal highlight of the evening.
Stefan Musil, Kronen Zeitung, 22.09.2024
In ensemble member Katia Ledoux, the production found the ideal casting for this Carmen. Ledoux is not the lascivious seductress, but rather an active observer of the events, who ultimately has no interest in men. The Viennese mezzo-soprano’s voice—which comes across as straightforward rather than ingratiating—also fits seamlessly into the director’s concept.
Martin Fichter-Wöß/APA, Salzburger Nachrichten, 22.09.2024
Ledoux has visibly and audibly taken the stage by storm; she commands the attention of the entire performance and sings with such presence and clarity that she receives a standing ovation at the end. Even those who may not fully appreciate the concept behind the production will remember this Carmen.
Georg Leyrer, Kurier, 23.09.2024
[...] here, Katia Ledoux certainly delivers the highlight: plenty of color, velvety texture, warmth, a vibrato that is expansive when desired yet never exaggerated, and that much-vaunted “melting quality” that no one can quite define. Jens F. Laurson, Die Presse, 23.09.2024
Katia Ledoux is the new Carmen at the Vienna Volksoper, and this Paris-born mezzo-soprano—who trained in Vienna and Graz—gives her all in her portrayal of the role. The singer possesses a rare vocal and dramatic charisma for this complex role—radiant in the high notes, with a warm mezzo timbre, dramatically explosive in her outbursts, and blessed with a strong stage presence. In keeping with the directorial approach—which will be discussed later—this Carmen is characterized by her own vulnerability and makes it clear that this way of living and loving, entirely focused on liberté, also entails suffering from her inescapable fate. For her outstanding performance as both a singer and an actress, she is rightly and loudly celebrated by the audience at the performance on September 24, 2024.
Thomas Rauchenwald, Rauchenwald Classic, 25.09.2024
Under the musical direction of Music Director Ben Glassberg, ensemble member Katia Ledoux made her debut as Carmen [...] The cast brought an impressive depth and emotional intensity to the performance, which captivated the audience. Leben mit Stil, 09.2024
Katia Ledoux [...] Her mezzo-soprano voice has a very pleasant timbre; it is rich and expressive.
Dr. Helmut Christian Mayer, Opera Online, 26.09.2024
With her sparkling mezzo voice and her acting skills, Ledoux is able to give Carmen her own, quite compelling character. In a different way, but seductive nonetheless.
Manfred A. Schmid, Der Opernfreund, 12.10.2024
Of course, Ledoux’s ‘Habanera’ –L’amour est un oiseau rebelle– is absolutely scandalous. A big woman, sensual, oozing sex, her mezzo rich, complex, powerful; and Ledoux’s got rhythm. The men fall over themselves, swaying, transfixed, following her every move. And musically, the stakes are high. [...] They make a terrific duo; there’s real sexual tension between Ledoux and Muzek. [...] High drama. Performed immaculately, no histrionics. philautus,Vienna Opera Reviews, 20.12.2024
The character of Carmen is split into three roles here: a dancer, an actor in drag, and mezzo-soprano Katia Ledoux. The latter is the radiant centerpiece of the evening. Despite the deconstruction, she gets to sing all her major scenes from Bizet’s opera, and Ledoux does so with a fantastically full and richly colored voice. With her body, presence, facial expressions, and that voice, she commands everyone’s attention. She looks amazing. Peter van der Lint, Trouw, 24.06.2024
There are three Carmens on stage. The role is sung by the fantastic Katia Ledoux.
Katia Ledoux made a highly promising Covent Garden debut as Maddalena’s confidante Bersi. She has a very attractive, dark mezzo voice and I’ll be hoping to hear more of her in bigger roles.
David Karlin, bachtrack, 31.05.2024
Katia Ledoux, in the role of Bersi, Maddelena’s servant, was positively dynamism personified, with a voice to match. The French mezzo-soprano made her mark early in Act two, now a merveilleuse, where she sings of the Revolution. She has a positively huge, attention-grabbing clarion voice, and I suspect that she is destined for bigger and greater things.
Mike Hardy, OperaWire, 31.05.2024
The opera has many small roles, with exceptional standouts on this occasion from the luscious-voiced Katia Ledoux as Maddalena’s former maid Bersi
George Hall, The Stage, 31.05.2024
the rest of the singing was excellent, notably [...] French mezzo Katia Ledoux as Maddalena’s maid Bersi
Mark Ronan, The Article, 31.05.2024
Katia Ledoux’s knowing, affectionate Bersi – an excellent young artist, someone to watch out for in future.
Tim Ashley, The Guardian, 31.05.2024
Katia Ledoux’s all too brief appearance as Maddalena’s sidekick, Bersi was heartily received by this audience Daniel Lewis, The Times, 31.05.2024
Another stand-out was the Bersi of Katia Ledoux, all revolutionary fervour. Ledoux previously impressed as Paola in Offenbach’s La princesse de Trébizonde in a concert performance at the Queen Elizabeth Hall (review); this was her Royal Opera debut and I very much hope to see and hear her again
Colin Clarke, Classical Explorer, 02.06.2024
There is no shortage of immediacy in the supporting roles that bring the action to quasi-cinematic life: Katia Ledoux’s lush-voiced and charismatic Bersi;
Yehuda Shapiro, Opera Today, 02.06.2024
Katia Ledoux gives notice of an impressive voice as Bersi
Richard Fairman, Financial Times, 11.06.2024
In the supporting cast, there are fine performances too from [...] rising star Katia Ledoux as Maddalena’s maid, Bersi The Arts Shelf, 12.06.2024
Katia Ledoux was a warmly characterised and sweetly sung Bersi.
Melanie Eskenazi, music OMH, 12.06.2024
Katia Ledoux’s Bersi fully immerses herself in the multifaceted role her character offers: as a servant to the aristocracy, she brings a sharp wit to the part—particularly in her rapidly vibrating phrasing—and as a woman liberated in every sense of the word under the New Regime, she all the more effectively showcases the richness of her smooth and haughty mezzo-soprano voice. The richness of her entire vocal range is thus expressed with generous artistry, with a vibrato that further energizes the whole performance.
Charles Arden, Ôlyrix, 13.06.2024
Maddalena’s former servant turned Merveilleuse, Bersi – impressively portrayed by French mezzo- soprano Katia Ledoux Hadani Ditmars, Opera Canada, 20.06.2024
Katia Ledoux with her seductive charm [...] and, above all, mezzo-soprano Katia Ledoux as Carmen, who performs her arias with seductive charm, great emotion, and captivating artistry.
Katia Ledoux seduces with nothing but her voice. But boy, does she seduce!
Lilo Weber, NZZ, 06.05.2024
Her arias and the duet between her and Don José—played by American tenor Ryan Capozzo—in which she demands that he disappear from her life, are among the absolute highlights of this opera.
Marja Pruis, De Groene Amsterdammer, 15.05.2024
First and foremost: The production is a theatrical event. First and foremost is mezzo-soprano Katia Ledoux.
Junon in “Platée”,
Opernhaus Zürich,
December 2023:
Here, in these brief scenes, the concentrated emotional power of the once again stunning KATIA LEDOUX comes into play—as always, with full force and omnipresence. What a bundle of energy, what a presence, what a voice!
Arcimboldi's World, 29.12.2023
Katia Ledoux left a lasting impression even in the minor role of Juno, Jupiter's jealous wife. Her deep,
bronzed mezzo and appropriately martial demeanor resonated throughout the theater, with great
projection.
Laura Servidei, Operawire, 14.12.2023
Mezzo-soprano Katia Ledoux is a force of nature as Junon
Peter Wäch, Jungfrau Zeitung, 11.12.2023
Mezzo-soprano Kat[i]a Ledoux gives the quarrelsome Juno a distinctive vocal profile as well
Sibylle Ehrismann, Seniorweb.ch, 11.12.2023
"Katia Ledoux had only a few appearances as his jealous, matronly wife Juno, but the
She made it an event with her jealous "Big Bang" tones.Kaspas Sannemann, Opera Current, 10.12.2023
Anna Kardos, portrait in the NZZ am Sonntag, December 10, 2023
Prince Orlofsky in “Die Fledermaus”,
Volksoper Wien, September 2023:
The second act featured a highly satisfying performance by Katia Ledoux as Prince Orlofsky. Her pleasant voice lends this trouser role the right charisma and the necessary stage presence. Vocally, she is the best of the evening and a great asset to the company.
Otto Grubauer, Der online Merker, 04.09.2023
Gertrude in "Roméo et Juliette",
Opernhaus Zürich, April 2023:
French mezzo-soprano Katia Ledoux gave a strong performance as Gertrude, the nurse tending to Juliette and her troubles Michael Fischer, Seen and Heard International, 10.04.2023
How wonderful to finally see the magnificent KATIA LEDOUX (as Gertrude, Julia's nurse) in Zurich again, even if the role doesn't really offer much – she makes something of it (it's wonderful how she just sits there looking at her pimples in the hand mirror!), she is an imposing figure in her lilac costume, amidst the rather boring Veronese society – no wonder she understands her protégé Julia.
Katia Ledoux's Gertrude, in fine voice
Frédéric Léolla, Musicologie.org, 07.04.2023
With [...] Katia Ledoux as Gertrude, the smaller roles are also excellently cast
Orpheus in "Orpheus in the Underworld",
Volksoper Wien, February 2023:
Norman Lebrecht, Slipped Disk,02.02.2023: [1] & [2]
Francisco Salazar, Operawire, 02.02.2023
Georg Leyrer, Kurier, 02.02.2023
Michael Vincent, Ludwig Van, 06.02.2023
Philippe Gault, Radio Classique, 07.02.2023
Herr Reisende, Legato con Intensita, 08.02.2023
Wilhelm Sinkovicz, Die Presse, 09.02.2023
Katia Ledoux, a name new to me, was a fine Paola
Colin Clarke, Classical Explorer, 20.09.2022
Katia Ledoux, Paola, with a rich, dark tone
Yvan Beuvard , ForumOpera, 22.10.2023
Katia Ledoux, as Paola, performs with a distinctive, witty character in her solos while blending harmoniously with the ensemble in the group scenes
Dr. Ingobert Waltenberger, Der Online Merker, 01.11.2023
Katia Ledoux: She makes the most out of a fairly small role.
Christopher Weber, Operetta Research Center, 01.09.2023
Katia Ledoux as Paola is perfect
Konzert mit Lucie Horsch bei den
Muziekhaven Zomerconcerten, Juli 2022:
My favorite performance of “Frauenliebe und Leben” has always been the one by Margaret Price and James Lockart, and Katia Ledoux, in particular, reminded me of that favorite version in a delightful way. Powerful and full-bodied, yet despite her lower mezzo register, the performance was also light. Aided in part by the intimate atmosphere of the church, Katia Ledoux seemed to engage directly in a dialogue with the audience. Neil van der Linden, Basia Con Fuoco, 15.07.2022
Ježibaba in "Rusalka",
Staatsoper Stuttgart, June 2022:
Among the singers, Katia Ledoux stands out as Ježibaba [...].
Thomas Rothschild, Kultur Extra, 05.06.2022
The Witch Jezibaba, portrayed by mezzo-soprano Katia Ledoux, was spectacular and gifted with dramatic talent. Gianguido Mussomeli, GBOpera, 06.06.2022
...the stunning Katia Ledoux as Ježibaba
Egbert Tholl, Süddeutsche Zeitung, 08.06.2022
The witch Jezibaba, on the other hand, played by Katia Ledoux with a grounded dark-toned mezzo voice
Judith von Sternburg, Frankfurter Rundschau, 12.06.2022
Katia Ledoux brought a full and round-sounding, smoothly flowing mezzo-soprano to the role of Jezibaba.
Ludwig Steinbach, Der Opernfreund, 19.06.2022
Katia Ledoux, who—as a young, seductive witch decked out in purple variety-show glitter—does not at all fit the conventional image of an ugly old woman, once again highlights her striking performances with her rich, full-bodied mezzo-soprano voice, which possesses both expansive depth and explosive high notes.
The contributions by Katia Ledoux (Proserpine) were powerful and striking
Paul Korenhof, Opus Klassiek, 05.03.2022
And mezzo-soprano Katia Ledoux is magnificent as Proserpine
Erik Voermans, Het Parool, 09.03.2022
Proserpine, sung with a radiant voice and powerfully portrayed by mezzo Katia Ledoux
Franz Straatman, Place de l'Opéra,09.03.2022
The role of Proserpina is played by Katia Ledoux. She has an interesting, sensual voice with a metallic edge and a beautiful legato, which makes us curious to see how she will develop as a singer. Her stage presence commands attention, even when she is silent.
Esther Chayes, Opera Gazet, 17.03.2022
... the rich, creamy mezzo-soprano Katia Ledoux
Maartje Stokkers, de Volkskrant, 06.03.2022
the outstanding young mezzo-soprano Katia Ledoux
Incidentally, the best and most understandable Dutch was spoken by the Frenchwoman Katia Ledoux!
Paul Korenhof, Opus Klassiek, 13.11.2021
And Katia Ledoux, as his wife Makuba, stirs up the audience with her loud voice
Annette Embrechts, de Volkskrant, 15.11.2021
The expressive opera singer Katia Ledoux is a wonderful match for him
Anita Twaalfhoven, Trouw, 15.11.2021
Makuba, Anansi's wife, sung and performed with great enthusiasm by Katia Ledoux
Franz Straatmann, Place de l'Opéra, 15.11.2021
A glorious exception is mezzo Katia Ledoux (Akuba), irresistible thanks to her subtle acting and amazing voice.
Gala concert,
Opernhaus Zürich, June 2021:
What a great voice—and what stage presence!
Marco Stücklin, Opera Magazine, 27.06.2021
With her trademark enormous stage presence and her wonderful voice, Katia Ledoux turned Sappho’s grand aria “O ma lyre immortelle” (Act III, Scene 5 from “Sapho” by Charles Gounod) into another highlight of the evening.
Jan Krobot, The Online Merker, 25.06.21
Katia Ledoux made a magnificent impression with the “Suicide” aria from Gounod’s ‘SAPHO’. What a fantastic, richly colored, and expressive voice. Ms. Ledoux (who had already turned heads in the production of “Iphigénie en Tauride”) made a deep impression with her rich, wonderfully supported, flowing mezzo-soprano. Hopefully, the company will be able to retain this artist for some time.” Kaspar Sannemann, oper-aktuell, 27.06.21
Portrait in
"Der Tagesanzeiger",
May 2021
Susanne Kübler, Der Tagesanzeiger, May 29, 2021
“I Will Always Love You”—Katia Ledoux’s declaration of love during the first encore is met with absolute reciprocity. The audience has long since taken the mezzo-soprano from the International Opera Studio to their hearts and been swept off their feet. During the second encore—which wasn't announced—the audience in the sparsely seated stalls, arranged to comply with COVID-19 guidelines, DANCED. From the moment she takes the stage, Ledoux radiates a positive energy that immediately captivates. Her charm fills the entire house, and she exudes a confident ease. With her program, which revolves around love, she takes the audience on a journey around the world of unimaginable scope. It is a voice to experience, whose qualities, diversity, and versatility almost leave the critic speechless. Ledoux begins her program with Christoph Willibald Gluck: “Ahi mè dove trascorsi …” / “Che farò …”. Rich lows alternate with a wonderful mid-range and radiant highs. And then, with “Fallin’” by Alicia Keys, boundaries are crossed for the first time. The around-the-world trip then took us through Spain (“L’amour youkalie” by Georges Bizet/Kurt Weill and “Près des remparts de Séville” by Georges Bizet), South Africa (“Malaika” by Miriam Makeba), South America (“Yo soy Maria” by Astor Piazzolla), the U.S., and the realization that “Elvis sings opera, too” (“Elvis 1785/Can’t Help Falling in Love” by Elvis Presley/Jean-Paul-Égide Martini and “Happy” by Pharrell Williams), England (“Creep” by Radiohead), and Germany (“Gretchen am Spinnrade” D 118 by Franz Schubert), and back to France (“Ma plus belle histoire d’amour” by Barbara). For the audience, this journey around the world became their most beautiful love story at the opera house. When has anyone ever experienced an evening like this? A singer who can effortlessly combine the most diverse styles without compromise—and who even hosts the evening herself in perfect German? Jan Krobot, The Online Merker, 31.05.2021
Her temperament and radiant presence captivated and swept the audience away. […] The audience left the concert with a strong desire to see this singer again as soon as possible. Marco Stücklin, Opera Magazine, 30.05.2021
La Musica both challenges and inspires Gaetano. It leads him from dream to reality, the two firmly intertwined. Katia Ledoux, in her role, starts off tentatively but reaches her peak as the evening progresses.
Carmela Maggi, Oper und Kultur, 08.05.2021
Mezzo-soprano Katia Ledoux portrays “La musica,” the perfectly articulate, subtly seductive muse.
Ledoux concluded the work with an impressively performed “Agnus Dei.”
Peter van der Lint, Trouw, 26.01.2021
Most impressive were soprano Ying Fang and contralto Katia Ledoux, who easily outshone the orchestra. […] Chinese soprano Fang also delivered a brilliant performance in the duet “Qui tollis” alongside the equally expressive French contralto Katia Ledoux. Franz Straatman, Operamagazine.nl, 25.01.2021
The discovery of the evening is mezzo Katia Ledoux, who has a rare, completely unique and very soulful sound.
Mischa Spel, NRC, 07.06.2019
But it is above all the female characters who stand out. From a wonderful maternal presence, Katia Ledoux paints a splendid scene of the letter.
Laurent Vilarem, Opera Online, 05.06.2019
The only French singer was Katia Ledoux (Geneviève), and with perfect diction she really stood out in her small role.
Peter van der Lint, TROUW, 06.06.2019
Katia Ledoux sang a beautiful Geneviève.
Peter Franken, Place de l'Opera, 06.06.2019
[…] the Geneviève letter scene sung with a round mezzo-soprano and a beautiful idiomatic phrasing became one of the most convincing scenes of the show […] Paul Korenhof, Opus Klassiek, June 2019
International Vocal Competition (IVC) 2018
The press jury fell for the French mezzo Katia Ledoux. This is not surprising: with her quirky repertoire choice (The Rake's Progress and Die Fledermaus), compelling presence and communicative qualities, she made a lasting impression. The breadth and depth of her instrument was not entirely revealed by Stravinsky and Strauss jr, but it was more than obvious that she is a self-confident singer who really has something to tell the audience.
Jordi Kooiman, Opera Magazine, 16.09.2018
"Katia Ledoux: In our opinion, a singer with an exceptional talent to communicate in her singing, in her acting, but also with great attention for the text. [...] In Tschaikovsky's Arioso, we not only heard every word, but although I do not speak Russian myself, her performance gave me the impression that I really understood what she was singing! [...] Absolutely irresistible was her own joy when singing Orlofsky's aria from 'Die Fledermaus'. With great artistic generosity, she invited us to join her feelings – and we surely did!”
Paul Korenhof, opera critic at OpusKlassiek, awarding Katia Ledoux the Dutch Press Prize at the 2018 International Vocal Competition in 's-Hertogenbosch, 15.09.2018