CD release

Smetana Arias │ Pavel Černoch


The unique ensemble work of arias and duets from the operas of Bedřich Smetana with the Czech Philharmonic under the baton of maestro Tomáš Netopil was created as a tribute to the bicentenary of the birth of the Czech musical genius. This exceptional recording brings the most important of Bedřich Smetana’s operas performed by the best contemporary performers. In addition to Pavel Černoch and the Czech Philharmonic with Tomáš Netopil, the singers Slávka Zámečníková, Mária Porubčinová and Jan Martiník participated in the Smetana Arias album.

Slávka Zámečníková in duets as Mařenka and Blaženka.

Rudolfinum Prague 2024

Pamina at the Vienna State Opera

Slávka Zámečníková has recently made a remarkable debut as Pamina in the premiere of Mozart’s “Die Zauberflöte” at the Vienna State Opera under the baton of Bertrand de Billy, directed by Barbora Horáková. Her performance has garnered widespread acclaim from critics and audiences alike. Slávka Zámečníkovás portrayal of Pamina not only showcases her vocal prowess but also her deep connection to the character, further solidifying her reputation as a leading soprano on the international opera stage.

Wiener Staatsoper │ Die Zauberflöte │ Pamina

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

Wiener Staatsoper│ Le nozze di Figaro │ Susanna

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

Theatre des Champs-Elysées │ Don Giovanni │ Donna Anna

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

Wiener Staatsoper │ Der Rosenkavalier │ Sophie

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

US debut as Adina in San Francisco Opera

Slavka Zamecnikova dazzled audiences on the stage of the San Francisco Opera, marking her role debut and United States debut at the same time. Alongside tenor Pene Pati, and under the baton of Ramón Tebar, Slavka delivered a performance that captivated the audience from start to finish. Her portrayal of the character not only showcased her exceptional vocal versatility and dramatic skills but also demonstrated her commanding presence on stage. The chemistry between Slavka and Pati created a captivating dynamic, breathing life into the production.

San Francisco Opera │ L’elisir d’amore │ Adina

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