Press

G. ROSSINI "IL BARBIERE DI SIVIGLIA" (ROSINA), 1, 4 OCTOBER 2018, VIENNA STATE OPERA, AUSTRIA

The masterpiece of Gioachino Rossini in any event conveyed the "lightness of being" that is especially true for his Buffo operas. However, the main prerequisite is performers who meet the vocal requirements. For example, performers such as the Russian mezzo-soprano Margarita Gritskova, who was born in St. Petersburg and can be reputed as a real discovery of Dominique Meyer. She is constantly improving; the upper register of her voice gets more and more intense and it has more strength in middle and lower section of the vocal range. Coloratura sparkles like pearls. And the acting talent of an attractive singer has always been obvious!
Peter Dusek, Online merker

«Christmas comes but once a year», the old worldly wisdom says. At the Opera house, this doesn’t always have to happen exactly on a public holiday – the day of the premiere. On the contrary, the expectations raised in the run-up to the event are often higher than what you actually meet and the following disappointment is great.
In addition, this is another life experience: the value of an opera house is shown above all in the way it presents itself in the everyday life of the repertoire. And the Vienna State Opera is usually quite well positioned, as can be confirmed now by the small performance series of Rossini’s The Barber of Seville. The Basis for this is a solid and well-kept Ensemble, which raises future Stars again and again - as it is probably expected at present with the famous Gritskova.
As Rosina, Margarita Gritskova shows a great example of Rossini’s Belcanto art, with wonderfully sparkling coloratura runs and graceful sequences complemented by a subtle sense of playful moments in her performances, which she virtuously masters.
Manfred A. Schmid, Online merker

PREMIERE: MOZART «LA CLEMENZA DI TITO» (SESTO), JUNE 2018, THE PALACE OF ARTS OF QUEEN SOFIA, SPAIN, VALENCIA

«..Among them, Margarita Gritskova from Saint Petersburg as Sesto showed her artistic temperament, nature, and magnifical mezzo, having become the star of this wonderful opera night. After well-known aria Parto parto the clemency of Titus becomes clear: he got emotional and forgave his friend (and the others as well) toughed as a man and as an emperor by airy singing, vocal agility, melodious expression, beauty and artistry a la Berganza, which Gritskova presented to us through unique Mozart’s gift.»
BeckMesser.com, Justo Romero, 26 de Juno de 2018

«..Margarita Gritskova, Russian mezzo as marvelous Sesto, became the winner of the night. Note this name! She is wonderful and gives us a chance to speak about her soon. Just a little pearl.»
UnaNocheEnLaOpera

G.ROSSINI «THE BARBER OF SEVILLE» (ROSINA), VIENNA STATE OPERA, FEBRUARY 2018

«..The role of his beloved Rosina is one of the best roles of Margarita Gritskova: playing her, the singer could combine fabulous acting skills, wonderful singing, and stunning appearance. So, a playgoer should get comfortable and enjoy all the above mentioned.»
Elena Habermann, online merker

J.BIZET "CARMEN" (CARMEN), JANUARY 2018, VIENNA STATE OPERA, VIENNA, AUSTRIA

“..Margarita Gritskova may boast that she wasn’t overshadowed by the superstar. It could be quite expected that her “Carmencita” in first two acts will create a furor: having sung Habanera, Seguidilla and, first of all, “Chanson Bohéme” she served them to the audience like “voice-decoy”, complementing a visual impression made by mezzo-soprano of the singer from Saint Petersburg. But how would the scene of cartomancy be performed by her, how would her voice sound in the final scene? Well, I found myself surprised by that voice-potential, which I heard in the second part of “Carmen”. Anyway the singer will have a distinguished international career”.
Peter Dusek, online merker
 
“..That’s exactly what is happening: Margarita Gritskova, representing a vamp from hair to spike heels, is amazingly seductive. It’s a remarkable debut!”
Wiener Zeitung,  24.01.2018
 
“..Carmen is a character that shall also catch the audience’s eyes, and Margarita Gritskova obviously does cope with it perfectly. With no complicated movements, she shows the fullness of her sensuality, legerity, and also ability to be convincing, that could be expected from a person convincing Don José. She will be the only winner; and with the first scores Gritskova, supported by a wide and powerful accompaniment, manages to lead him confidently, like real leaders do.”
Esteban Hernanández, Platea Magazine, 01.Febrero 2018

PREMIERE: G.ROSSINI «LE COMTE ORY» (ISOLIER), KLOSTERNEUBURG, AUSTRIA, JULY-AUGUST 2017

«..Margarita Gritskova as Page Isolier shows once again that she is one of the most important discoveries of Dominique Meyer. Her rich, dulcimer voice bravely copes with all the difficulties of the vocal score, the pitch of her voice is irreproachable, and the depth remains immaculate.»
Peter Dusek, online merker
«.. Margarita Gritskova as Page Isolier is just stunning. And her voice seems to be created for the role of Isolier, Margarita said to be born to play it, her slight and simultaneously dulcimer mezzo-soprano sounds unbreakable in all ranges. She impersonated this role with her natural charm and humour, and managed to make a joke about the master, this affectionate fine fellow. »
Helena Habermann, online merker
 
«…Margarita Gritskova as Page Isolier is simply brilliant!..»
Der Standart.at ,  10.7.2017
 
«…Margarita Gritskova appeared on the stage as the travesti Page Isolier, became another one favorite of the Vienna State Opera audience. The young Russian soloist impressed the audience with an enormous vocal range, deep sound in the low ranges, but also with sharp mezzo coloratura.»
Die Presse,  Print-Ausgabe, 10.07.2017 

G.ROSSINI «L’ITALIANA IN ALGERI» (ISABELLA) VIENNA STATE OPERA, APRIL 2017

«..Very graceful Italian with extraordinary marvelous voice by Margarita Gritskova, a Russian singer born in 1987. The deepest high pitched voice with impressive flexibility. Such vocal is positively far from ordinary: it seems to be cut out specially for Rossini, but actually – thanks to good acting skills – it can sing about everything, not only perform Travesti roles. It is a great pleasure to hear young voice of such strength and technique: she always stays focused, perfect modulations come one after another, her bearing stays correct, vocal is beautiful and clean, showing the highest school.»
OperaeOpera, 10/04/2017

G.ROSSINI "THE BARBER OF SEVILLE" (ROSINA), VIENNA STATE OPERA, DECEMBER 2016

"..Rosina by Margarita Gritskova becomes every time better. Profound depth and pearly coloraturas, as well as overwhelming joy of performance, make her, without any doubt, one of the best performers of this role."
Elena Habermann, Online Merker

W.A.MOZART «THE MARRIAGE OF FIGARO» (CHERUBINO), SALZBURG, AUGUST 2016

«..The showing of Cherubino with piercing vocals was sensational in every respect. This role in its entirety energetic, with a mischievous musicality, full of passion for a woman - a sort of Don Juan in his puberty - has been immaculately presented by Margarita Gritskova .»
KF Pichler,  Stol.it

PREMIERE: G.ROSSINI «SIGISMUND» (SIGISMUND), BAD WILDBAD, JULY 2016

«..The performance of the opera "Sigismund" in Wildbad with a soloist of the Vienna State Opera Margarita Gritskova in the lead role became triumphant. The Polish king, whose old death sentence to his wife, has almost blew his mind performed by her sounds gentle and compassionate.»
Münsterland Zeitung
 
«..Die Hauptrolle übernahm Margarita Gritskova, deren Stimme, laut wie ein Sturm in einem gewaltigen Umfang und mit einer solchen Macht und Innigkeit erklang, dass man sich als Zuhörer durchaus eine Vorstellung von Marietta Marcolini machen konnte».
Janos Gardoni, the Whole Note
 
«..As a Mecca of bel canto, Wildbad prepares and draws the real masters. At all gigs the viewers were surprised with an amazing and sometimes phenomenal execution, such as stunning expressive Margarita Gritskova as the king Sigismund.»
Frankfurter Rundschau
 
«..King Sigismund presented on stage by Margarita Gritskova, a member of the State Opera troupe, and which the viewers will be able to see again since August 16 as Cherubino in Mozart’s opera" The Marriage of Figaro" in Salzburg, of course was the culmination of a musical performance. Once again we were able to verify how wide the voice range of young Russian singer is and, above all, how meaningful is the depth of her voice. She knows how to win the listener’s with the flexibility of her voice, which she can restrain at the right moment and subdue him with the purest coloraturas.»
Oliver Schneider, Wiener Zeitung, 31.07
 
«..The role of the king sang the young Russian singer Margarita Gritskova that showed to the public all the splendor of her voice. She and her mezzo-soprano, affecting by passion on the high notes, and sounding like a bell in its depths, plays led roles of the Vienna State Opera troupe today.»
Badische Zeitung 

W.A.MOZART «LA CLEMENZA DI TITO» (SESTO), VIENNA STATE OPERA, APRIL 2016

«..Pay your attention to this name: Margarita Gritskova. Her performance of the part of Sesto from the opera "La Clemenza di Tito" had a superb style, expressiveness and grace, which is very characteristic to the works of Mozart’s.»
Jaume Radigales, 04.10.2016, NUVOL el digital de cultura
 
«..For the most part, the singers were undistinguished with the exception of young Russian mezzo Margarita Gritskova as Sesto who displayed not only admirable dramatic insight into this most complex of characters but was vocally mellifluous and even-toned in all registers. The octave-plus leaps in “Deh, per questo istante solo” were steely accurate and there was really beautiful word colouring on “questo cor”. A rock-solid top G natural and excellent chest notes all made for an exemplary performance of this important partia.»
bachtrack.com, Sutherland, 31 marzo 2016

PREMIERE: P.EÖTVÖS «THREE SISTERS» (MASHA), VIENNA STATE OPERA, MARCH 2016

«..Masha, by Margarita Gritskova, appears as a true femme fatale, who is trying to escape from captivity, but fails, her great mezzo does not lose its richness and expressiveness even at the deepest depths.»
Die Presse, print edition, 08.03.2016

G.ROSSINI «CINDERELLA» (ANGELINA), VIENNA STATE OPERA, SEPTEMBER 2015

«..As for beauty of the voice and coloraturas agility, this evening only Margarita Gritskova could outshine him. As Cinderella, she captivates the audience, not only by her appearance but also by the voice modulations. First of all, she is remembered for her ability to give an incredible musical expressiveness to various Rossini’s phrases, no matter whether she is singing a sad song of a poor servant or expresses the euphoria felt by a young woman who has recently fallen in love. (..) The final scene performed by Gritskova crowns the colorful bustle by stunning coloraturas and exquisitely modeled musical phrases. Cinderella turns into a princess.»
Wilhelm Sinkovitz, "Die Presse", 18.09.2015.
 
«..The main character is played by the rising star Margarita Gritskova, who has become perhaps the most important discovery of the era of Dominique Meyer. Her voice grew stronger, gained more "thoracic sounds", and high notes have metal sound. Also sparkling coloraturas, followed by ornamental techniques, and delightful passages. In short, in this role Margarita Gritskova, who has been part of the troupe of the State Opera since 2012, in no way inferior to her predecessors such as the Christa Ludwig, Agnes Baltsa, and Elina Garanca.
Name of Margarita Gritskova should be remembered!»
Peter Dusek, Online Merker, September 2015.

PREMIERE: W.A.MOZART «THE MARRIAGE OF FIGARO» (CHERUBINO), SALZBURG, JULY 2015

«..The show-stealer was Russian mezzo-soprano Margarita Gritskova, who gave her Salzburg debut in the role of Cherubino. Salzburg has a tradition of discovering and launching young talent that then turn into stars (e.g. Anna Netrebko and Nino Machaidze), and Gritskova will certainly go on to a great career. Possessing a strong and dark voice, the young Russian convinced not only on account of her impeccable technique, diction and control, but also thanks to her disarmingly charming stage presence. Her Cherubino was equally attractive as a boy or as a girl: believable, entertaining and delighting.»
Philip Eisenbeiss, Interlude, 21 August 2015

«..Cherubino performed by Margarita Gritskova is awesome. A very attractive “youth” enchants with iridescence of the voice which the singer uses with extremely high professionalism. Among the variety of opera singers her arias looks like rare diamonds».
Friedeon Rosen, Online Merker, 18.08.2015

«..Margarita Gritskova sang a lovely Cherubino with a quite beautiful voice and a very warm clear timbre. Also her acting was lovely and made her portrayal really convincing. Her voice has such seamless transitions that everything she sings just sounds wonderful.»
Daniel Url, The operatic musicologist, 17 August 2015

«..It is only Margarita Gritskova as Cherubino who attracts with the color of her voice which is full of youth».
Zeit Online, August 7, 2015

«..If we were to choose the most impressive scene or singer, we would name the scenes featuring Cherubino which had been so geniously performed and had united magnificent voice capturing with their accuracy and incredible beauty.»
Pagewitzz, August 2015

CONCERT WITH JOSE CARRERAS, LINZ, MARCH 2015

«..Concert was a spectacular event due to Gritskova. " (..) At the concert, Carreras decided to sing with Russian mezzo-soprano Margarita Gritskova. The fact that the evening turned into the spectacular event was also her merit. Since the 2012/13 season, Ttwenty-seven-years-old Russian singer is a soloist of the Vienna State Opera, she made her debut in the summer at the Salzburg Festival as Cherubino in "The Marriage of Figaro" by Mozart. The volubility with which Gritskova performed the Brucknerhaus "Canción de Paloma" in front of the audience has been truly remarkable.»
Nachrichten.at , Linzer Brucknerhaus, 27. März.

G.ROSSINI «THE BARBER OF SEVILLE» (ROSINA), VIENNA STATE OPERA, MARCH 2015

«..Of cause, there’s no weak link in the cast, but Margarita Gritskova was undeniable star of the night. Vocally stainless at the full of her range, she sings with a piano’s accuracy. She is well known to the Viennese audience from the moment she joined the Vienna State Opera in 2012, and is obviously adored.»
Dmitri Finker, The Classical Music Network

G.ROSSINI «THE BARBER OF SEVILLE» (ROSINA), VIENNA STATE OPERA, NOVEMBER 2014

«..The highlight of the cast is Margarita Gritskova, who already belongs to the ensemble for two years; she became a public darling and justified with her wonderful vocal achievement. From the broad vocal range up to the pretty coloratura, she pays the role back in her own coin and in addition she is an indefatigable actress, who has all the threads of this tumultuous comedy in her hand.»
Wolfgang Habermann, Neue Merker, November 2014

PREMIERE: W.A.MOZART «IDOMENEO» (IDAMANTE), VIENNA STATE OPERA, OCTOBER 2014

«..Margarita Gritskova received surely the most of the final applause in her travesty role of Idamante. She was the only one who had the vocal charisma which would be no doubt expected from a Mozart-premiere at the opera house („Das Haus am Ring“)»
Kleine Zeitung, October 2014

«..Margarita Gritskova was vocally in her travesty role of Idamante way out in front of the ladies.»
KURIER, October 2014

«..Margarita Gritskova succeeds in creating the role of Idamante vocally, even if she wears pants. Gritskova – for her there was the most applause at the premiere– grew not only for the low challenges in her role of Idamante.»
Peter Jarolin, KURIER, October 2014

«..At the center is the young Russian Margarita Gritskova in the role of the king’s son Idamante. She persuades us in her „Non ho colpa“ with her resonant, dark timbered mezzo-soprano and enchanting registers.»
Oliver Sehneider, Dreh Punkt Kultur, October 2014