CONCERT WITH MAESTRO JOSE CARRERAS"A native of Saint Petersburg, young woman who has been found a "starlet" by the critics, demonstrated the capabilities of her voice, her excellent coloratura and performing talent, by denoting energy in the "Nuit d’etoiles" by Debussy; originality in "Guitares et mandolines" by Camille Saint-Saens; sensuality in "Les Chemins de l’amour" by F. Poulenc; and the Spanish character in "Canción de Paloma" («The Barber of Lavapiés" FA Barbieri)."
New Spain, 01/05/2016
"Increasing luster along this wonderful evening, which it really was, the concert began with cough of the tenor, who moved to the wings after the first song to be rehabilitated, and by that he provided an opportunity to enjoy the exquisite mezzo-soprano Margarita Gritskova that lit up her performance by Rakhmaninov - "Spring Waters" (the composer, who has served as a model for José Carreras during the hard times after the he was diagnosed with leukemia), and continued with ’Non più mesta’ from ’Cinderella’ by Rossini, ’Nuit d’etoiles’ by Debussy,’Guitares et mandolines’ by Saint-Saens and ’Les chemins de l’amour’ by Poulenc - in which she was the most outstanding - and also she demonstrated the Spanish spirit in the ’Canción de Paloma’ from ‘The Barber of Lavapiés’ the zarzuela by Barbieri. On top of that, their voices harmoniously convolved in ’Je te veux’ by Erik Satie and ’Dúo y Jota’ from zarzuela "The African" by Manuel Fernández Caballero. The outstanding singers were accompanied by the Italian Lorenzo Bava, enriching their performance."
ALBERTO Picker Oviedo 05/01/2016 15:28 El Comercio
"He was joined on stage by his faithful and talented pianist Lorenzo Bavaj and Russian mezzo-soprano Margarita Gritskova: the young singer has wowed audiences for her shining charism with which she interpreted both individual songs, showing off a delicate and prodigious coloratura, and duets. (...) Carreras opened with O cessate di piagarmi and Era de Maggio, struggling against repeated coughs that have partly undermined this execution. After he left the stage without even enjoying the applause the audience tributed to him, the tenor took advantage of Gritskova’s turn to fully recover and continue with several pearls of two of his favorite composers, Tosti and Puccini, including Segreto, Ideale, Terra e Mare and Sole e Amore. In the second part he gave way to the Latin and Neapolitan repertoire, in which he could give all his very best with songs like La rosa y el sauce, Lejana tierra mía, T’estimo, Serenata sincera and Passione. Defined exquisite, the young mezzosoprano showed her talent with Non più mesta from Rossini’s La Cenerentola and Debussy’s Nuit d’etoiles, then a certain audacity in Saint-Saëns’ Guitares et mandolines, sensuality in Poulenc’ s Les Chemins de l’amour, and what is called duende español in Canción de Paloma from El barberillo de lavapiés. The audience got further confirmation from the duets, Satie’s Je te veux and Dúo y Jota from La Africana with Carreras. Furthermore, there have been even moments of fun: due to some confusion about the artists’ entrance on stage between a piece an the following one, on a given occasion Lorenzo Bavaj was left alone on stage; the pianist himself ironically joked about that none of the singers seemed to be joining him. Three encores: Habanera from Carmen, a strong point for such promising mezzo, then Vierno with which Josep Carreras always overwhelms his audience, and finale with the duet in Non ti scordar di me."