Slávka Zámečníková | Soprano

It is she who wins unanimous praise: Slávka Zámečníková is an
ideal Gilda, full of sensitivity and determination. The soprano overcomes all the role’s challenges with ease, delivering both radiant high notes and crystalline pianissimi. Brava!

forumopera.com

The most beautiful surprise of the evening comes from the nuanced and sensitive performance of Slávka Zámečníková – a name to remember. In her first appearance, her way of phrasing has this innocent, graceful and youthful quality, that immediately sends shivers down the spine. The timbre is fruity, her voice expands, her high notes are absolutely confident and stable while remaining delicate when she affirms her love, especially in her “Caro nome”. The artist knows perfectly how to convey to the audience the extent to which her love for this “Gualtier Maldè” will be irremediable whatever happens. Her “Tutte le feste al tempio” rises to yet another level, we weep with her. She dies in a supreme moment of emotion, her voice suspended as if by a thread, utterly pure. She received a standing ovation, and we hope to see her again very soon!

cult.news

In her role debut, the Slovak soprano shines in her aria of illusion with a sensational legato, intoxicating trills, and an agility that carries a certain depth reminiscent of Scotto, even Callas.
Ethereal in the earlier duet with her father – particularly thanks to her stratospheric vocalisations – she contrasts her angelic fragility with the jester’s gravity. (…) He forms an ideal pair with Zámečníková’s Gilda, especially in their love duet, where his vigor in the stretta complements the virtuosity of his partner.

premiereloge-opera.com

Slávka Zámečníkova proves to be an exceptional Gilda. Her clear, full-bodied voice defines her youthful character while fully embracing the breadth of Verdi’s phrasing. She finds her place with ease among a predominantly male cast, responding effortlessly to the intensity of the ensembles. Her voice quite literally soars in “Caro nome” with a play of nuances and entirely controlled and mastered high notes.

olyrix.com

The crown of the evening goes to Zámečniková for a Pamina of heart tones: her soprano sounds full and noble, she phrases beautifully and with undisguised expression.

Die presse

The Pamina of Slávka Zámečníková is excellent in every way.

Kurier

Slávka Zámečniková is an expressive Pamina.

Online merker

Slávka Zámečníková, who shows her bell-pure soprano as Pamina.

falter.at

…Pamina, who is excellently sung by Slávka Zámečníková.

news.at

The world class Slávka Zámecníková (as Pamina) shows clarity, conciseness and noble performance.

Der Standard

Slávka Zámečníková impresses with the elegance of her noble soprano voice, warmth of the timbre and her noble phrasing.

Kronen Zeitung

Slávka Zámecniková was particularly convincing as Pamina in all her needs.

Salzburger Nachrichten

Slavka Zámečníková sang with limpid tone as a wonderful Pamina.

Gramophone.co.uk

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