Category: Critical acclaim

The laurels rest with the lovebirds at the heart of the opera: the exuberant partnership of Peter Kellner’s Figaro and Slávka Zámecníková’s Susanna
anchored the performance. Commanding the centre of gravity, Kellner gave a highly dynamic portrayal, singing with unending energy and wit, while Zámecníková charmed in equal measure with her delightful, shimmering lyric soprano, “Deh, vieni non tardar” delivered with a touch of delectable playfulness.

Bachtrack.com

Slavka Zamecnikova is an enchanting Susanna, wise and clever, she knows how to use the Count’s stalking to her advantage. In the disguise of a countess in the fourth act, she shows that she definitely has what it takes to be a real countess.

onlinemerker.com

Spectacular work by Slávka Zámecniková as Susanna, the Almaviva’s servant. In addition to the undoubted beauty of the voice, she has a wonderful technique that allows her to move through the entire range without any problem, giving her role, fundamental in the work, even greater relevance. I liked her above all in the interrelationship with all his companions, duos, trios or concertantes where she was always at a very high level.

planeamagazine.com

The beautiful voice of Susanna (Slávka Zámecníková) is powerful, full-bodied, but also technicaly very well placed.

cult.news

Slavka Zamecnikova’s Donna
Anna is just extraordinary. Her brilliant timbre and crystalline accuracy make us rediscover a myriad of nuances in each intervention of this often very austere character. She plays Anna to perfection and we notice an overflowing musicality. We very much hope that she returns to Paris soon and especially for a recital in order to hear her again in the full spectrum of her range.

classiquenews.com

The three female lead roles could hardly be better cast. Slávka Zámecniková as Sophie warbles sensually, like a nightingale. An ensemble member who turns everyone’s head. No wonder that the pubescent Octavian falls for her with this disarming voice.

klassik-begeistert.de

Slávka Zámecniková seems to be born for this role. The shimmering soprano reminded Lucia Popp, but Slávka is different. She is beautiful, fragile, her voice is ringing and she phrases delicately, but there is more temperament in her. She knows how to be quiet – the role dictates it to her – but she can also be forceful to fight, as when she flatly refused future bridegroom, because he is a grave man and especially unfaithful. Finally she dives into the arms of Octavian. During their final duet in a gentle embrace with beautifully phrased singing and expression, the audience had a hard time to hold back emotions.

operaslovakia.sk

Slovakian soprano Slávka Zámecníková made an absolutely mesmerizing US and role debuts as the precocious Adina who receives a valuable lesson in love. Dressed in Hopkins’ gloriously colorful attires, Zámecníková looked like a million bucks, as if she was an Italian socialite. Vocally, she was even better; her bright gleaming voice sounded round, lovely and expressive, and she effortlessly negotiated the many coloratura passages like a well-seasoned veteran. She imbued the role with a sense of confidence and tenderness, and she established good rapport with everyone on stage. Hopefully, she will come back to War Memorial stage as either Norina or Susanna, both of which she has performed in Vienna!

parterre.com

Adina, deftly sung by soprano Slávka Zámečniková, in her American debut. She sang with ease and flexible beauty of voice. This tessitura matched her physical dynamics on stage, springy and agile, centered as it was in the upper part of her body. She had much spring in her voice as in her steps. The emphasis was on her detachment rather than her emotional commitment, fitting with her characterization. Her voice didn’t let her down. As she cavorted around the stage with the hop, skip and jump of a butterfly, rejecting the affection of Nemorino cool and aloof, her voice led her exactly where she wanted to go. 

operawire.com

Making her SF Opera and role debuts, Slávka Zámečniková was a winning Adina, here the wealthy and well-dressed owner of a namesake hotel. It’s a challenging role that until the end of the second and final act doesn’t allow a lyric coloratura soprano to show off her technique or revel in her high notes. But when the moment finally came, Zámečniková excelled. Her top note at the end was as spot on as it was sweet. If some exponents of the role have more successfully integrated strength and vulnerability into their sound, Zámečniková compensated with stage presence and acting. She also impressed with her ability to soften higher up in her range to produce sweet, resonant head tones without edge.

sfcv.org

Zámecníková, a Slovakian artist whose career has been spent mainly in Germany and Austria, gave a masterful performance as Adina, lofting crystalline peals of melody and capturing the character’s blend of supercilious tenderness.

datebook.sfchronicle.com

He was well matched with soprano Slávka Zámečníková, in her American debut. Her voice is elegant and very pretty, and she seems to sing without effort. Her Act II aria “Prendi, per me sei libero” was splendid.

operatattler

Equally remarkable for her coloratura vocals, notable throughout the opera, Slovak soprano Slavka Zamecnikova, as the aloof Adina, impressed right away in the Act 1 duet with Pati, “Chiedi all’aura lusingghiera” (Ask the flattering aura why it flies without rest).

hereporter.com

Making her commanding American and role debut as Adina is Vienna-based Slávka Zámečníková.  With a voice both silken and agile, the soprano fits well musically into the bel canto role, navigating both the luxuriant and staccato elements of the score.  She captures both the warmth and aloofness of the character.  In her lovely “Della crudele Isotto,” which tells of the use of a love potion in the legend of Tristan and Isolda, Nemorino comes to believe that such a potion might help him win Adina over.  Zámečníková also delights in her duet with Pati, “Chiedi all’aura lusinghiera,” showing great range and vocal beauty.

berkshirefinearts.com

As Adina, soprano Slávka Zámečníková made the most of her United States debut. Her lyric voice, heftier than we usually hear from Adina, handled all the music – including the challenging coloratura in the finale – with ease. 

seenandheard-international.com

As Adina, Slávka Zámečniková sang beautifully, in a voice full of strength and rich in color. 

berkeleydailyplanet.com

In the supporting roles, Slávka Zámečníková and Patricia Nolz were a delightful couple as Servilia and Annio. (…). She was ideally matched with Zámečníková’s dark, attractive soprano, the two of them blending beautifully in an enchantingly sung “Ah, perdona al primo affetto”. Zámečníková’s voice was also well suited to an unusually forceful Servilia, her soprano strong and cutting in “S’altro che lagrime”, yet also floating high notes with gentle, shimmering beauty.

bachtrack.com

Slavka Zámecnikova gestaltet die Rolle der engelhaften Servilia mit verschwenderisch schönem Gesang. und wunderschönen Klang. Ein passendet Kontrast zur leíchtfertigen, spontanen Vitellia von Lombardi und glanzvoll in der Arie „S’altro che lacrime“.

onlinemerker.com

Contra todo pronóstico y a pesar del carácter inevitablemente secundario del personaje, la actuación más redonda de la noche corrió a cargo de una cantante habitual en los escenarios de Viena y Berlín, pero nueva para mí: Slávka Zámecníková como Dircé. Posee una emisión cristalina, brillante, y una extraordinaria habilidad para las agilidades, coloraturas y estacatos que el papel necesita. Todo ello, además, conjugado con esa inocencia y dulzura, que el personaje también requiere, cimentada en apuntes de fragilidad en reguladores y dinámicas.

(Against all odds and despite the inevitably secondary nature of the character, the most rounded performance of the evening was given by a singer who is a regular on the Vienna and Berlin stages, but new to me: Slávka Zámečníková as Dircé. She possesses a crystalline, brilliant voice, and an extraordinary ability for the agilities, coloraturas and staccatos that the role needs. Furthermore, all of this, combined with that innocence and sweetness which the character also requires, was strengthened by notes of fragile expression in all the dynamic range.)

plateamagazine.com

En Dircé, Slávka Zámečníková est excellente. Son timbre est riche et brillant, à l’image de la robe dorée qu’elle revêt au début de l’opéra.

(As Dircé, Slávka Zámečníková is excellent. Her tone is rich and brilliant, like the golden dress she wears at the beginning of the opera.)

bachtrack.com

La Musetta de Slávka Zámecniková est tout aussi séduisante vocalement et aborde son air du deuxième tableau à la manière d’un numéro de music-hall froufroutant fort réussi.

(Slávka Zámecniková’s Musetta is just as seductive vocally and brings her aria of the second act with a big success like a an extremely well done music-hall number.)

Webtheatre.fr

Mais quel envoûtement à entendre la Musetta de Slávka Zamecniková! Glamour et plénitude du timbre, pureté du galbe vocal, sensualité et sophistication de la gestuelle corporelle, elle réussit à devenir un point focal d’une très grande intensité lorsqu’elle interprète “Quando me’n vo’ au cœur de l’alcôve dorée qu’a conçue Claus Guth, si bien qu’elle donne immédiatement envie de la découvrir dans des rôles de tout premier plan.

(But what an enchantment to hear the Musetta of Slávka Zamecnikova! Glamor and fullness of timbre, purity of vocal curve, sensuality and sophistication of body gestures, she manages to become a focal point of great intensity when she interprets “Quando me’n vo” in the heart of the golden alcove designed by Claus Guth, so much that it immediately makes you want to discover her in leading roles.)

fomalhaut.over-blog.org

Slávka Zámecniková est une Musetta flamboyante, comme il se doit. Son « Quando me’n vo’ » est idéal.

(Slávka Zámecniková is a flamboyant Musetta, exactly as it should to be. Her “Quando m’en vo'” is ideal.)

forumopera.com

Slávka Zámecníková fait comme lui ses débuts à l’Opéra de Paris, en apportant au personnage de Musetta son espièglerie sans surenchère avec une voix affütée.

(Slávka Zámecníková, like him, made her debut at the Paris Opera, bringing to the character of Musetta her mischievousness without overdoing it with a sharp voice.)

Slavka Zámecniková qui fait ses débuts à l’Opéra de Paris est son amie Musetta, compagne mutine à la voix cristalline.

(Slavka Zámecniková, who is making her debut at the Paris Opera, is her friend Musetta, a mischievous companion with a crystalline voice.)

lebruitduofftribune.com

Interprétée par la toute jeune soprano slovaque Slavka Zamecnikova, Musetta est un ravissement de bout en bout.

(Performed by the very young Slovak soprano Slavka Zamecnikova, Musetta is a delight from start to finish.)

causeur.fr

Leuchtturm Nr. 2: Slávka Zámecnikovás Marzelline. In himmlischen Höhen singt sie die Koloraturen hochexpressiv wie fein geschlagenen Sahne, ihre Stimme strahlt im Saal wie eine hellleuchtende Sonne. „Wie könnt ich glücklich werden”, das Publikum erlebt in diesen Worten eine namenlose Freude. Die junge slowakische Sopranistin erregt mit ihrem Gesang Gänsehaut – Feeling am laufenden Meter. Leider ist das die kleinste Partie dieser Oper…

klassik-begeistert.de

Slavka Zamecnikova als Marzelline punktet mit ihrer feinen, hellen Sopranstimme. Ihre Gestaltung der Arie „O, wäre ich schon mit dir vereint” ist beifallswürdig, weil sie darin nicht nur innig von beglückender Zweisamkeit träumt, sondern auch ironische Hinterfragungen anklingen lässt, die man der Tochter Roccos gar nicht zugetraut hätte.

onlinemerker.com

Sehr erfrischend schon der Beginn mit dem Geplänkel zwischen Marzelline und Jaquino; dabei zeigt sich Slávka Zámecniková als willensstarke Kerkermeisterstochter, was einen reizvollen Kontrast zu ihrem hell leuchtenden und schön geführten Sopran bildet. Der spontane Applaus für „O wär’ ich schon mit dir vereint” ist verdient, und mit Daniel Jenz hat sie einen spielfreudigen und gesanglich adäquaten Partner.

onlinemerker.com