+ PREMIERE: Mozart «La clemenza di Tito» (Sesto), june 2018, The Palace of arts of Queen Sofia, Spain, Valencia

“..Mezzo-soprano Margarita Gritskova as Sesto was the best in the opera. Her voice was attractive, well-managed, and rich. It was especially distinguished in always anticipated aria Parto parto.”
Opéra World, José M. Irurzun

“..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.”

“..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. She has a strong voice of good quality. She manages, regulates, and directs it perfectly and plays with our emotions as she pleases. Equally unexceptionable in middle, lower, and higher registers, in Parto, parto, ma tu ben mio it sounds especially peerless. Just a little pearl.”

“..Young conductor Nimrod David Pfeffer communicates to orchestra both in minor and intensive dramatic flow, and musicians respond to him flawlessly. Not to take anything away from the others, but Margarita Gritskova as Sesto the key character with good and evil fighting inside merits special mention.”
Álvaro del Amo, El Mundo

“..Sesto, a travesty, like Annio, was performed by Margarita Gritskova with attractive voice and lyric mezzo-soprano, which stole the scene immediately. The famous Parto parto – one of the most well known aria in this opera – was full of emotions and power, and clarinet player Lluna just added fuel to the flames. Sesto right from the very start appeared as much more complex character than the others, having constant doubts: he loves, betrays, regrets… and mezzo of the Russian singer sounded brilliant in all registers, she knew how to present middle voice and passages of coloratura soprano, coped with recitative. Her duets with Vitellia and Annio were really good.”

“..Mezzo-soprano Margarita Gritskova, who possesses a magnetic voice and virtuosity, played the role of Sesto, Tito’s close friend, who became betrayer and then even tried to kill him. Score of the opera was written for castrato. Mozart adored vocal from an early age and always had a good relationship with castrati of that time, although by the end of the XIX century they began to go out of fashion. Just a sky-born performance of aria “Parto, parto, ma tu ben mio” ─ the most famous of this opera ─ was performed by Margarita Gritskova.”
Àngel Crespo,

“..Performance of Margarita Gritskova as Sesto was brilliant. This role was written for Castrato singer, but in modern production it is performed by women, dressed as men. Gritskova sings the important aria with clarinet obbligato “Parto, ma tu ben mio” so incredible easy, holding a dialogue with the solo instrument. Excellent pronunciation and musical sense reflect again in the aria «Deh per questo istante solo», performed with great focus and specific skill of clearly pronouncing.”
Fabio Tranchida, OperaClick

+ W.A.Mozart "Le nozze di Figaro" (Cherubino), april 2018, Aix-en-Provence, France

«..Margarita Gritskova created so cheerful and lively character of Cherubino and saturated it with so wonderful singing, that we are hoping to see her soon at Frenchstages again.»

«..Special charm of Margarita Gritskova as Cherubino should also be emphasized, as she outdraws by her play, at times mischievous, and the voice, remarkable for its phenomenal clarity and limpidity of high notes. Other performers show high quality and complement the success. The Audience gave them a long standing ovation.»

+ G.ROSSINI "CINDERELLA" (ANGELINA), Bayerische Staatsoper, march 2018, Munich, Deutschland

«..In his own staging of Cinderella, Jean-Pierre Ponnelle showed lightness and sense of humor presenting Rossini’s music piece. For the whole evening amazing voices were singing from the stage, and especially remarkable were voices of Margarita Gritskova as Cinderella and René Barbera as a prince Don Ramiro. Audience, which got satisfaction from the performance, expressed gratitude to artists with unanimous applause.»

+ P.I.TCHAIKOVSKY "EUGENE ONEGIN" (OLGA), Vienna State Opera, Vienna, Austria, March 2018

“..Olga’s part was performed by Margarita Gritskova, a singer born in Saint Petersburg, who made first appearance on the stage of the Vienna State Opera in 2012. Several days ago on the same stage this graceful, beautiful Russian sang the part of charming and passionate Carmen in the latest presentation of Georges Bizet’s opera. According to the director’s idea, Olga was a little bit pushed into the background, but she performed perfect duet with Tatiana in the first scene; her playing and singing were double-edged, but womanly and flirtatiously, especially towards Lensky and Onegin in the scene at the Larins’ ball. Margarita has soft, dark mezzo-soprano flying through the whole opera space.”
Terézia Ursínyová, OPERA-Slovakia

„..Margarita Gritskova played Olga, a merry Tatiana’s sister. Her mezzo-soprano sounded especially impressive in the low register. The sweet melancholy was in her voice in such moments.”
Mirjana Plath,


“..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 (hoping that she wouldn’t stumble over louver…).”
Elena Habermann, 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, a bit blurred by hushed tone, at first, but then finished with flashes striking with bright mint freshness”.
Andreas Maier, Wiener Zeitung

+ J.Bizet "Carmen" (Carmen), January 2018, Vienna State Opera, Vienna, Austria

«..Ten years ago an outstanding director Mariss Jansons (not later than two weeks ago the music world celebrated his 75th anniversary in grand style) chose Margarita Gritskova, a student of Saint Petersburg Conservatory, for the role of Carmen, when prepared the memorable concert performance of George Bizet’s opera with young artists of his native city, Saint Petersburg. And on a recent day the soloist of the Vienna State Opera Margarita Gritskova made her first appearance as Carmen on the legendary Vienna stage in a play that is noted with an exclamation mark in rich opera program of the Austrian capital. Between these two events, the singer with rich voice, bright stage image, and the temper to perform Carmensita, has come to Weimar Theatre upon graduation from Saint Petersburg Conservatory, and then – to the Vienna State Opera, and has performed a lot of coloratura mezzo roles during her artistic biography. And once again - fickle and passionate Romani.»
Andrei Zolotov-Junior, RGRU

«..Thanks to these qualities the masterpiece of the French master, who had never been to Spain, became the most popular opera in the world with the course of time. The fact, that this opera can be performed in small music theaters, doesn’t mean that it’s easy for respectable flagship theaters, for example, the Vienna State Opera. The point is not only pretty, but also characteristic voices, what is particularly remarkable, when the lead character sings. This time such voices came to us from the East and belonged to Margarita Gritskova of Saint Petersburg and to the Polish tenor Piotr Beczala, who have been met with critics’ approval.»
Deutschlandfunk Kultur

“..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, a bit blurred by hushed tone, at first, but then finished with flashes striking with bright mint freshness”.
Wiener Zeitung

„..Performing Carmen before the Vienna audience for the first time, Margarita Gritskova managed to complement Don José very well: a lively and refreshing Carmen, endowed with a flexible mezzo sparkling in tender colour. Her young enthusiasm was combined with self-assured pride and erotic mercenariness, which didn’t turn her into banal Vamp-Woman.“
Dominique Troger, online

“..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 (hoping that she wouldn’t stumble over louver…).”
Elena Habermann

“..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. As to vocal, a Parisian composer does not hesitate to unleash the potential of the character, as if claiming that whoever Carmen’s challenger is – 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.”
Platea Magazine

+ W.A.Mozart "Le nozze di Figaro" (Cherubino), Vienna State Opera, Vienna, Austria, September 2017

“..A real enrichment is Cherubino by Margarita Gritskova. Especially the aria ‘Voi, che sapete’ succeeded greatly and the adolescent’s character was very convincing.”
Wolfgang Habermann

“..An absolute achievement is Margarita Gritskova as Cherubino. The both difficult arias were performed perfectly, especially cavatina, which was played with such temper and elation. One can only look forward to further widening of the repertoire of a young singer from St.Petersburg.”
Helena Habermann

“..Margarita Gritskova’s voice sparkled in ‘Non so più cosa son’, brilliantly capturing Cherubino’s intoxication with the female sex. Her plummy tones in ‘Voi che sapete che cosa è amor’ were at odds however with an otherwise delightful, energetic portrayal of the hormone-driven teenage page."
Rick Perdian

+ Solo Concert with pianist Ivan Demidov, Pesaro, Italy, 21 August 2017

«...Margarita, a mezzo-soprano from Saint Petersburg, who was watched on by manager Gianfranco Mariotti and Ernesto Palacio from the first row of the balcony, presented a very intriguing program, consisting of compositions born of an inexhaustible inspiration of the Master from Pesaro. Anyway, the start – recitative and cavatina “Oh patria!… Di tanti palpiti” from Tancredi – evoked memories of Lucia Valentini Terrani and Daniela Barcellona, the main performers of the unforgettable “palpiti”. Margarita Gritskova sang with the great skill and her own interpretation. After aria “L’iniquo voto” by her compatriot Mikhail Ivanovich Glinka, she went back to Rossini and sang two the most famous cavatinas: “Una voce poco fa” of Rosina from "The Barber of Seville" and “Per lui che adoro” of Isabella from “L'italiana in Algeri”. The mezzo-soprano was accompanied by outstanding pianist Ivan Demidov, a Russian, born in Chirchiq (Uzbekistan), who graduated the famous Rimsky-Korsakov Saint Petersburg State Conservatory with honors. Demidov played “Souvenir d’une Mazurka” by Glinka, the central figure of the amazing concert along with Rossini. Then Margarita Gritskova sang Cinderella’s rondo “Nacqui all’affanno, e al pianto… Non più mesta”, presenting to the audience a quite rich interpretation of it. Then again Glinka: Variations on Alyabyev's "The Nightingale" first, for which the pianist received a good round of applause, and then Ratmir’s aria "Night shadow's followed the ardent heat" from the opera “Ruslan and Lyudmila”. Russians in the hall acclaimed passionately, and Margarita received her first bouquet for this night. The last part was devoted to Rossini again: Sigismondo’s cavatina “Non seguirmi… omai t’invola” and Elena’s rondo “Tanti affetti” from “La donna del lago” (The Lady of the Lake) were performed. Gratitude, applause, and bouquets for Margarita and Ivan, extending performance of Russian artists at the Rossini Opera Festival."
Luciano Murgia, PU24.IT


«...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. And his tutor also belonged to the gangs of the Count."
Helena Habermann, online merker

"...Margarita Gritskova impersonated youthfully charming Isolier, shining with sparkling coloratura and sonority of high ranges."
Florian Krenstetter

"...Margarita Gritskova as Page Isolier is simply brilliant."

"...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. The performance of Ory-Isolier-Adèle trio, this funny Ménage-à-trois, was so captivating that the appearance of the soldier who interrupted it was actually perceived as disturbance – yet another victory of the brilliant dramaturge Rossini..."
Die Presse


"..Maddalena by Margarita Gritskova is a real delight. She is also a perfect artist with amazing still very light but at the same time a creamy mezzo voice, which is perfectly in tune with such a temptress. (Don’t miss “Page Isolier” in Klosterneuburg.)"
Helena Habermann

"..M.G. was an attractive Maddalena, her depth (and not only) was impressively shown on the scene in quartet and trio."
Wolfgang Habermann


"..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."

"..Margarita Gritskova is a charming Isabella not only visually, but musically. She has everything for this role: flexibility, depth, suitable pitch, and an enormous ability to organize her work, because just a pretty face would not be enough. So, we have an ideal Isabella in our Opera House."
Elena Habermann, online merker


"..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


«..Margarita Gritskova impressed as Bradamante witch noble mezzo and found herself at Handel's music.»
Elena Habermann, Online Merker

«..Margarita Gritskova had a more profound mezzo radiate as Bradamante.»
Dominik Troger, Online Merker

«..Margarita Gritskova's dark shining contralto puts on the evening the impressive lights.»
Wilhelm Sinkovicz, Die Presse

+ CONCERTO WITH MAESTRO J.CARRERAS, Innsbruck, September 2016

"..From the Vienna State Opera Carreras had brought Margarita Gritskova, a young Russian singer who has a great voice of an extremely wide range, and who has brilliantly performed the aria of Cherubino, Giuditta, Zorika and Carmen. Together with the famous tenor she sang the waltz-duet "Lips are silent", and then a song by Erik Satie «Je te veux» where the listener was able to once again enjoy the subtle sensuality typical of him".
Ursula Strohal, Tiroler Tageszeitung


"..Margarita Gritskova and Claudia Rohrbach, as the Roman legate Fulvio and Numidian Prince Arbace, crowned with glory the soloists performance thanks to their artistry. (...) Margarita Gritskova came on the scene dressed in the charming blue dress with a silver stripe and it was difficult to imagine the Roman legate in such outfit, moreover sweet on the Pompeius widow. When Gritskova warns Caesar about the dangers lurking in wait for him in Utica, her warm mezzo-soprano delights the audience with a rich sound in the middle register."
Thomas Molke, Online Musik Magazin

"..Margarita Gritskova was flawless as the Fulvio and she impersonated it with mezzo-soprano saturated with machine guns steel and artistical coloraturas."


"..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, Salzburg

"..Thanks to Margarita Gritskova, Cherubino, this cute little monster who looks like a bisexual being, got right timid uncertain nature, a mixture of shy and stormy love, awakening the curiosity of sexual readiness. Great mezzo-soprano only emphasized these qualities. The fact that in the last part of Beaumarchais trilogy, he finally sweeps Countess off her feet, and she gives birth to his son, confirms this impression, arising from the image presented by Gritskova. Not without reason Kierkegaard outlined this role as "a young Don Juan"
Peter Skorepa, Merker Online

"..Cherubino appears as a young artist with a folder with drawings; and Margarita Gritskova sang this role with sensuously vibrant mezzo - charmingly chirped the voice part "Non so pi ù" , and " Voi che sapete " - balancing between the air tenderness and awakening passion "


"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

«Mit 23 hatte Rossini bereits 13 Opern komponiert, wobei seine Geliebte/Muse Marietta Marcolini, eine der bekanntesten Mezzo-Sängerinnen ihrer Zeit, Rossini zu der Schaffung seiner 2 Meisterwerke inspirierte. Nicht alle seine Opern hatten Erfolg beim Publikum, aber der findige Komponist gebrauchte später Teile davon wieder, obwohl der Unterschied keinem auffiel. So sind im «Sigismondo» Melodien aus dem «Barbier von Sevilla» nicht zu überhören, insbesondere ein gut bekanntes Crescendo aus Don Basilios «Verleumdung». «Sigismundo» war Rossinis letzte für Venedig komponierte Oper, eine auf Marcolinis Rolle als Polnischer König zugeschnittene Opera seria. Die Travestierolle 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

"Margarita Gritskova, who is a regular guest at the festival in Wildbad for two years now, played the king, who impressed everyone with his charm. In the first act there is a moment, when a loud explosion of emotions is followed by pianissimo surprising tenderness, which, despite its restraint, penetrates into the farthest corner of the hall filled with visitors."
Pforzheimer Zeitung

"Margarita Gritskova with incredible drama played the role of the mentally broken King. The range of emotional coloring of the soloist of the Vienna State Opera expressive coloratura mezzo-soprano extends from scary-dark bouts of madness to tender declarations of love."
Die Deutsche Bühne

"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

“Margarita Gritskova with great expressiveness performed on the stage the protagonist - broken, insecure and persecuted by the spirit of his dead wife, and the audience remembered her powerful and soulful mezzo-soprano. During the recitatives she emphasizes the height of the fall of the hero by the soft structure of pronounced fragments of recitative sentences."
Nikolaus Schmidt, Press Readler

"In the voice figuration flashed Margarita Gritskova with her phenomenal mezzo-soprano in the lead role."

"The organizers of the festival once again managed to gather in Bad Wildbad the singers who meet the vocal requirements as high as possible. First of all, we should mention Margarita Gritskova whose contralto voice reveals a wide range. To let the listener feel the brunt of the Sigismund madness,she easily moves from the lowest depths to the dramatic heights. By the performance of Cavatina: 'Non Seguirmi...Ormai T'invola', Gritskova with all her usual vocal and performing skills, managed to convey the inner disjoint state of the King. Another culmination point of the play was her great final aria "Alma rea! Il più infelice", in which Sigismund understands that he unjustly condemned his wife. Gritskova has had a chance to convey the drama of remorse overwhelmed the King."
Thomas Molke, Online Musik Magazin

"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. Jochen Shёnleber, which has been working already for 25 years in the German Mecca of Rossini fans, knowingly focused on Gritskova character, showing to the audience the king’s pangs of conscience, first of all stripped him of self-confidence, and then turned into a human wreck."
Oliver Schneider, Wiener Zeitung, 31.07

"Frenzy probably promotes singing. The role of the king, who wanted to kill his wife, slandered by wretch, but managed to escape and return to the Lord by the intricate opera ways, sang by 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

"Margarita Gritskova, the soloist of the Vienna State Opera, already two years ago, managed to make a sensation in "Adelaide of Burgundy", and this time she was very convincing as the suffering from a disorder of perception King Sigismund, being able to brilliantly play his tessitura, which is inherent in many of the most controversial accents and enrich it with virtuosic shades. Her voice, sounding with great smoothness, captivated the audience with their explosive, upper case, in which there was no undue abruptness and acceleration, as well as the sonority of tone that perfectly combined with soprano of M. Aleida."
Udo Klebes, Online Merker

"The Schönleber directorial work is limited by the fact that he focuses the audience attention on the interaction of the characters. Soloists are free in how they sing and play. King Sigismund presented by the diamond of the Vienna State Opera Margarita Gritskova with her deep voice."
Südwest Presse

"The audience was happy to see and hear Margarita Gritskova performing at the Vienna State Opera once again. As a travesty she was able to demonstrate her flawless in all registers mezzo-soprano, endearing by the power of high tones."

"In Wildbad, Margarita Gritskova sang the difficult pants-role of Sigismondo. The Russian-born Ms. Gritskova is the possessor of a deep, flexible and technically secure mezzo soprano voice. She was very good, and also acted Sigismondo's madness convincingly."
Operapronto, Charles Lernigan


"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."

+ W.A.MOZART "LA CLEMENZA DI TITO" (SESTO), Vienna State Opera, April 2016

"..The greatest responsibility, of course, had Margarita Gritskova, who played the role of Sesto, as her predecessors in this part were Garanča and Kožená. Now it is obvious that Gritskova has something to oppose to these stars, to whom she is equal. Her voice sounds confidently in all registers, without losing neither her coloratura nor her perfect legato. On the stage, she convincingly performed a young man from a good family, who nearly became a murderer of his friend while defending his honor."
Wolfgang Haberman, Online Merker

"During her masterful debut Margarita Gritskova introduced as well to the audience magnificently performed Sesto, the traitor."
Wiener Zeitung, Daniel Wagner

"Sesto had a lot of excitement, performed by Margarita Gritskova, whose acting and musical performance left the greatest impression. In the middle register her voice gained even greater fullness, and a beautiful dark deep note was added to its sound."
Dominik Troger, Online Merker.

"..One of the strongest parts of Mozart’s is the attention paid to psychological details. It appears in those moments when, during the charmingly diverse terzetto, a tension is growing between the performers, or when the same performers are alone on the stage, lost in their truly mixed feelings. In such moments, the soloists reach amazing heights, and above all, expressive Margarita Gritskova who in the final scene of the first act succeeded to movingly convey a spiritual conflict of Sesto, who became a traitor against his will, and, like Vitellia, confidently performed by Caroline Wenborne, from whom Margarita Gritskova could borrow her rhythmic preciseness, was not afraid of high requirements to the tessitura. The singer treats exaggeratedly freely the size of the line, but as to her vocal expression, there hardly could be any competitors."
Wilhelm Sinkovicz, Die Presse

"..Pay your attention to this name: Margarita Gritskova. She is a mezzo-soprano from St. Petersburg, who gained a great experience performing, among other theaters, in Weimar and in the company of the Vienna State Opera. 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. For this reason alone it was worth to spend your evening, in spite of the meager and unimpressive staging under the direction of Jürgen Flimm, characterized by a lack of clear ideas and disorderly action on the stage. "
Jaume Radigales, 04.10.2016, NUVOL el digital de cultura

"..The only one who came out unscathed, opposing to the intransigence of the head, is Margarita Gritskova (Sesto) - more restrained than usually, she managed to adapt to the difficulties of performance of this role. When she appeared on the stage, the tempo seemed to open miraculously and lyricism again came into its own rights."
Dimitri Finker,, The Classical Music Network

"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. Whilst “Parto parto” was the usual showstopper, 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 aria.", Sutherland, 31 marzo 2016

"Margarita Gritskova was a livewire and highly intense Sesto. She used the ornamentation to really showcase her impressive instrument from the full bottom to the plum-toned middle to the bright and penetrating top. She is still in her twenties and I have a feeling that this is a voice that is going to continue growing. Hers was a highly schooled and musical account of the role, the interplay with the almost improvisatory basset horn in ‘parto, parto’ was absolutely magical and the triplets absolutely spot on. I might have preferred a little more introspection in ‘deh per questo istante solo’ but she really did deploy a notable range of tone colours during the course of the aria."
2016/03/30 Operatraveller


“Sitting in the Tea Salon of the Vienna State Opera face to three beauties with long black hair, catch yourself thinking that each of them represents certain type of one of the Anton Chekhov’s sisters: Aida Garifullina as the youngest and the gentlest sister Irina, Margarita Gritskova as passionate sister Masha, and Ilseyar Khayrullova as the eldest sister Olga, who is outwardly calm. Chekhov’s sisters have a great age difference. Whilst the three beauties performing on the stage of the Vienna State Opera, directed by Dominique Meyer, are absolutely of the same age, in other words, they are so young that their age is not a secret – all of them were born in 1987. In the words of the director Yuval Sharon, Chekov had dreamed of such trio. Two of them speak good German. Margarita Gritskova, who was born in Saint Petersburg, learnt language during her work in German National Theatre in Weimar. She gladly remembers those days: there were “lots of work” but along with the work came experience. And this experience helped her in Vienna, where Margarita was at once entrusted with the main roles. Remember just part of Idamante in “Idomeneo, re di Creta”, sang by her at premiere of Kasper Holten, when she was 26.”
Renate Wagner, Online Merker

«..On the stage of the Vienna State Opera, a "Three Sisters" production, after Anton Chekhov's play, of the contemporary Hungarian composer Peter Eötvös premiered with great success. The main roles were performed by three singers from Russia - the soloists of the Vienna State Opera: Aida Garifullina (Irina), Margarita Gritskova (Masha) and Ilseyar Hayrullova (Olga). "They say that the Viennese audience is very traditional and does not like innovations. Today the audience applauded to the modern opera for 20 minutes. Bravo to the audience!" - said Dominique Meyer, the general director of the Vienna State Opera, at the reception after the performance. (...) According to the director, he played in the "Three Sisters" as a student and knows the play "up and down". Nevertheless, in his work on the production, he relied more on the music of Eötvös than on Chekhov's play. "I produce the opera, not a play" - Sharon said. However, he said, thanks to the artistic skill of the performers of main roles - Garifullina, Gritskova and Hayrullova – he succeeded to make the performance dramatically intense and close to the Chekhov’s play. "These three actresses suit so perfectly for the main roles - they could perform in Chekhov's play, not only in the opera. They are great actresses, and they have a great relationship with the material," - says Sharon. The Russian singers do not leave a favor unanswered. "Our director is an American, born in Israel," - said Margarita Gritskova to "RG". - "But he felt the Chekhov so deeply, it was a great joy for all of us, and he inflamed even those who initially were not ready for this kind of music, which is not an easy one. It is close and interesting to us as the Russian people. It is our roots, it is Chekhov. And we are so pleased that this topic, which is very deep, interests not only Russia - it is universal." (...) The premiere was a real benefit performance for the three young singers from Russia, who successfully perform on the Vienna stage these last seasons. The graduate of the St. Petersburg Conservatory, Margarita Gritskova, is becoming more and more remarkable star of the Viennese scene. She performs here the roles of Rosina ("The Barber of Seville"), Dorabella ( "Così fan tutte"), Angelina ("Cinderella") and Smetona ( "Anna Bolena"). (...) Dominique Meyer, the General Director of the Vienna Opera, did not hide his joy after the premiere about the fact that the composer agreed to adapt the opera for the three Russian singers of the theater. "I'm so proud of my Russian girls! And I am happy that we have them!", - he said at the celebration of the premiere.»
07.03.2016 Andrei Zolotov, Jr. (Vienna), the Russian newspaper RG.RU

«..The ushers of the Vienna Opera could not remember a twenty-minute applause like this after the performance since a long time. The Hungarian composer (also the conductor), and American director Yuval Sharon, who proposed an ultra modernist interpretation of Chekhov's psychological drama, won unconditionally. (...) To each of the three selected characters, the set designer Esther Balash assigns a particular symbolic code through the color of an abstract game cabinet: to Irina - anxious and soft color of mahogany, to Andrey - a hopeless gray, to Masha - the sublime and tragic black. (...) The roles of the three sisters in Vienna were performed by Russian singers - Aida Garifullina (Irina), Margarita Gritskova (Masha) and Ilseyar Hayrullova (Olga). The sisters in the interpretation of the Viennese are hermits in the bunker, whose fate is limited by the expectation of a miracle, prayer, running past closed and slamming doors or touching them. All doors are always open for buffoonish Natasha, who repeatedly pushes the nurse from the chair with her sonorous voice and arrogant manners, which literally blast the closed space. Life is lived for nothing. We have heard Chekhov in the language of our terrible new world, from which the air of hope is exhausted. It is impossible to collect the hours, as well as the text. The use of abstraction in the musical and scenic settings gave Eötvös the opportunity to express the essence of Chekhov's world in a tragically-compressed form. The final scene of the performance is wrapped in a universal sadness. It would seem that at least those two - Masha and Vershinin - become happy, love has fallen into their hands like a raindrop, for a moment, but unable to explain, they have to leave. In the part of Masha - Gritskova sounds again the theme of torture of the soul, tinted in the music by the sound of saw. Something terrible pulls out of the human his veins, and at the last minute the singer reaches the heaven of passion, feeling literally as "Lady Macbeth of the Mtsensk District". In this Vienna performance they opened a poetic power in Chekhov matching the music of Shostakovich and Akhmatova's poetry, as if in our dramatic times they wanted to emphasize once again how well the classics here know Russia.»
Vladimir Kolyazin, Vienna, Nezavisimaya Gazeta

«..The sisters, performed by the singers of the State Opera, beautiful women, endowed with the voices of appropriate tone that emphasize in a touching manner the melancholy and despair of these heroines. (...) 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

«..Fully dressed in black, Margarita Gritskova appears before the audience as a singing diva of silent movies, without the slightest hint of parody: that is the way one should play a "tragedy".»
Renate Wagner, Online Merker.

«..Another trump of the Vienna State Opera is the appearance in main roles of three extremely attractive Russian singers who have become an ideal choice for the roles they performed - A. Garifullina as young and sad Irina, Margarita Gritskova as passionate and desperate Masha and I. Hayrullova, as Olga who accepted her fate.»

«..The cast was striking. Three Russian-speaking sisters playing on stage with all the expressiveness of blooming youth. For this opera, in this combination - A. Garifullina with her lyrical soprano with light metallic notes, Margarita Gritskova as Masha with her erotic mezzo-soprano and and I. Hayrullova as Olga - it is a great success.»
Dominik Troger, Online Merker.

«..Russian haunted house, designed in the style of old Hollywood horror movies. It has the fog, the furniture slowly floated in the monotony of time, the maze of doors and dim light of candles, with their wax that ran down the wet walls for centuries, accumulating beneath in small piles evoking sadness. (...) The most famous drama characters of Anton Chekhov are shown as zombies, performing the dance of death in the Addams Family hushed in the province. At least, Masha, the middle sister, looks like a black-haired pale Morticia Addams. In short, all this is quite unusual. (...) In his three sequences, Eötvös, after a prologue in which the sisters are swinging on a swing, turns his gaze to the individual characters, which focuses first on the youngest sister, Irina, (...) then proceeds to weak brother Andrey (magnificent baritone of Gabriel Bermudez) and stops on the brilliant and mobile Margarita Gritskova, who, in her pantsuit, played unfaithful Masha, who is desperate in her new love for a pompous officer Vershinin, played by Clemens Unterreiner. (...) The three sisters are genuine, charming Russian women, playing with delight with the text and easily orienting themselves in this demanding and appealing music. A real first-class Chekhovian trio.»
Die Welt, Manuel Brug.

«..In the third sequence Margarita Gritskova plays the role of Masha. Along with a rich contralto of the singer, in this melodramatic sequence we often hear a spoken recitative as well.»
Wolfgang Haberman, Online Merker.

«..Margarita Gritskova played Masha, showing her expressiveness with all the immense depth of her mezzo-soprano.»
Helmut Christian Mayer,

«..Carelessly sitting on a swing, as if returning to the long-gone youth, the three sisters from the same-name Chekhov’s opera, directed by Yuval Sharon with the music of Peter Eötvös, sing the prologue. This is followed by the drama, full of futility and failure. It is divided into three sequences focused on Irina and Masha (the two sisters are great, and are performed by A. Garifullina and Margarita Gritskova), as well as on their brother Andrey. Particularly impressive was the scene involving Masha and married Vershinin, some other scenes were less impressive.»

«..All performers were outstanding. Margarita Gritskova as Masha added to her image passion and deep feeling.»
Harmonie Line, Lenka Nota

«..For Margarita Gritskova (Masha), one success follows another in our theater.»
Lothar Schweitzer

"Behind them, the third sister Masha (Margarita Gritskova), stunningly beautiful, silky black hair, sophisticated, in a kimono-like, exotically-patterned silk gown. On wafts a spirit figure in a fluttering lace night-gown, carrying a candelabra. Did she start the fire; there are murmurs. Other characters pass through on the moving stage. Eötvös’s music is sparky, spooky rhythmic- featuring percussive effects, from huge, diverse drums, and with an emphasis on brass and woodwind. For the uninitiated, it could be the soundtrack for a horror movie: discordant, unsettling. Pėter Eötvös himself conducts a much-reduced Vienna State Opera orchestra in the pit; the larger orchestra play from a balcony backstage."


«..Margarita Gritskova not only endowed Krista with her magnificent mezzo-soprano, but also showed a considerable mastery.»
Heinrich Schramm-Schiessl, Online Merker

«..The voice and appearance of Margarita Gritskova drew attention to the younger generation of singers.»
Dominik Troger, Online Merker

«..Around Aikin are her colleagues, who differ either by soundly or impulsive performance and whose roles were accurately determined by Stein. Unbeatable in every respect was Wolfgang Bankl as a lawyer Kolenaty, solid were Markus Marquardt (as Jaroslav Prus) and Ludovit Ludga (as Albert Gregor). Funny and awkward on stage was Carlos Osuna (as Janek Prus), but above all, it is worth to mark an exquisite voice and performance of Margarita Gritskova as Christa.»
Ljubiša Tošić "Der Standart", 14.12.2015.

«..Krista performed by Margarita Gritskova admiringly looks at her ideal, before she comes to despair because of her lover having committed suicide.»
"Die Presse", 15.12.2015

«..Wolfgang Bankl presented to the public a memorable lawyer Kolenaty and Margarita Gritskova created a very expressive Krista.»
Gert Korentschnig, "Courier", 14.12.2015

«..Thomas Ebenstein made from a clerk of the lawyer Kolenaty quite a comic character, and Kolenaty’s daughter, Krista, who worships Marty and who eventually gets her recipe for eternal youth, later committed by her to fire, is convincingly performed by mezzo-soprano Margarita Gritskova.»
Oliver Schneider, DrehPunktKultur

«..Margarita Gritskova (Krista) and Carlos Osuna (Janek) skillfully perform their roles. A production which is certainly worth a look!"

«..As part of a permanent ensemble, a young singer of the State Opera Margarita Gritskova is resplendent as Krista.»
Martina Klinger, Klingers Kultur Pavillon

«..Nevertheless, Laura Aikin led a stout ensemble, where particularly Margarita Gritskova as Krista and Markus Marquardt as Jaroslav Prus stood out.»
Joachim Lange, NMZ Online, 16.12.2015

«..As always, a delight for the eyes and a delight for hearing became Margarita Gritskova as Krista, who committed immortality to fire, but in the end, was defeated.»«..As always, a delight for the eyes and a delight for hearing became Margarita Gritskova as Krista, who committed immortality to fire, but in the end, was defeated.»
Elena Habermann, Online Merker

«..An ensemble of singers, under the direction of Laura Aikin, stood out with its solidity. In this background, it is worth to highlight memorable Margarita Gritskova as Krista and Markus Marquardt, who played Jaroslav Prus.»
Roberto Becker, Online Musik Magazin

«..Margarita Gritskova as Krista made the most of her brief appearances with her darkly warm singing and her arresting presence.»
Bachtrack, Ako Imamura, 16 Dezember 2015

«..Competing with Emilia for suave glamour and sex appeal, Margarita Gritskova presents a fine Krista in all respects.»
Moore Parker, The Opera Critic

«..Margarita Gritskova appeared a beautiful singer easily performing Krista.»
Helmut Christian Mayer, Opernnetz

«..A young singer Krista, who worships the diva and is forced to give up her lover Janek Prus to Emilia Marty, was vividly presented to the audience by Margarita Gritskova, who with her magnificent mezzo-soprano performed a nervous girl torn between love and despair.»
Sieglinde Pfabigan, Neue Merker.

«..Born in St. Petersburg, Margarita Gritskova, with her beauty and coloratura mezzo-soprano, was perfect in the role of Krista.»
Peter Dusek, Neue Merker.

«..Margarita Gritskova sang and performed a pristine and lively Krista.»
I.M.S. Neue Merker


“Margarita Gritskova as a poor page Smeton was splendid that night. After successful performance as Angelina, Gritskova managed to rise even higher and took her rightful place among the leading bel canto singers”
Elena Habermann, Online Merker, 10 October.

“..Along with E. Gruberova, perhaps the oldest actress among the performers, only young Margarita Gritskova as Smeton fetched the audience by her youthful and vivid mezzo-soprano. Playful lightness of the character combines marvellously with gracefulness and loveliness of the singer”.
Peter Skopera, Online Merker.

“So intensive and emotionally breathtaking Margarita Gritskova’s performance as a poor page Smeton was”.
Die Presse, October 2015.

“..Alto of Margarita Gritskova, performing the role of a poor Smeton, sounded impeccably”.
Wolfgang Habermann, Online Merker.

“..Young Russian as Smelton turned out to be an extremely good choice. Wonderful voice timber, vivid performance – we are watching the development of super-talent”.
Peter Dusek, Online Merker

“..Gritskova’s voice develops gloriously, its middle register full of erotic flavour”.
Dominik Tröger, Online Merker


“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.

"Among the audience there are a lot of tourists and three debutants on the stage. 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. Born in St. Petersburg, this Russian mezzo-soprano singer is still developing rapidly. During the last season she performed the character of Cinderella by Rossini three times, all with great success. In the new mini-series everyone will be able to see how mature Margarita Gritskova became for this challenging role. 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. In any case, the audience were as delighted as it usually happens only at pop concerts, and the 23rd reprise was finished nearly a quarter of an hour later than it had to. Well, so what? Rossini’s opera tale overcomes any obstacles, and far not the least was the new Cinderella, who showed her best! Name of Margarita Gritskova should be remembered!"
Peter Dusek, Online Merker, September 2015.

"Margarita Gritskova showed her best performing the main character. Bel canto arias composed by Rossini, are challenging for any singer. The quality of the troupe is determined by how well are the performers of these arias. In the troupe of the Vienna State Opera this condition is most successfully followed by its female members. Margarita Gritskova confidently performs the aria with her deep mezzo-soprano."
Suzanna Zobl, NEWS, September 19, 2015.

«A true ray of light in this play was Angelina performed by Margarita Gritskova. Last spring the young Russian singer made her debut in this role, having previously played Thisbe in the premiere performance. Her first performances were already convincing, though, it seems as if the depth of her voice acquired an extra sweep and warmth without sacrificing the elegance of coloraturas. At the same time, her performance is light and natural as far as possible, for which she certainly deserves to be named the queen of this theatrical night. The climax of Gritskova’s performance was her final rondo «Nacqui all'affanno». If you are not willing to stand all night, come after the last interval and enjoy the final rondo of Margarita Gritskova!»
Wolfgang Huberman, Online Merker, September 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

«..Cherubino was Margarita Gritskova, a Russian mezzo. She was a sparkplug, a shape-shifter, a Cherubino. She walked the line between personableness and hamminess, not an easy walk to walk.»
Jay Nordlinger, The New Criterion, 19 August 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

«..Margarita Gritskova surprisingly good as Cherubino, which is tough role to handle for a mezzo, with high requirements on acting part, and she did it great making us believe we have teenage boy on the set.»
Operaexplorer, 17 August 2015

«..The singers make sort of mixed impression: the voice of Luca Pizaroni, though elegant, misses eroticism which is tightly associated with the authority of the count; Anett Fritsch is presented as melancholic countess who misses expressiveness; Adam Plachetka as Figaro looks flegmatic; and Martina Janková is too boyish for Suzanna. 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

«..She strongly realizes that her capabilities not only drive Cherubino (performed by the gorgeous Margarita Gritskova), who suffers from doubts and self-contradictions, to despair, but finally make her husband beg for her good attitude to him. (...) 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

«..Only once does the director go too far. When the Count decides to get Cherubino, the page, out of the way (here, the delightful mezzo-soprano Margarita Gritskova, looking charmingly boyish), he orders the lad into the military as an officer. Basilio, oddly, looks devastated. In a later moment, Basilio flings himself at the baffled page, grasping his legs with needy desire.»
Anthony Tommasini, The New York Times, 3 August 2015

“..You can’t help but fall in love with boyishly busy Cherubino played by sweet deep voiced Margarita Gritskova”.
Badische Zeitung, August 3, 2015

«..Margarita Gritskova perfectly performed the character of Cherubino, emphasizing her deep voice; being very convincing in the role of the page, she embodies male character of a teenage who dwells in the excitement, better than the other women's voices, and there is also to say about travesty characters, which, as a rule, tend to androgyny supposed to be more exciting. However, while emphasizing a brighter masculinity, she gives more weight to her character by adding an ounce of maturity, she confidently takes her place in the story and is more capable to excite the Countess and to trouble the Count»
Philippe Currat,, August 1, 2015

“..Margarita Gritskova appeared in the role of a lively page Cherubino, who nicks in Count’s conversation all the time, but won everyone's heart for his childlikeness”.
Ernst P.Strobl, Salzburger Nachrichten, July 30, 2015

“..Of course the testosterone-mezzo of Cherubino played by Margarita Gritskova should be noted”.
Ingo Wackenhut, Morgenweb, Mannheimer Morgen, July 30, 2015 Klaus Kalchschmid,, July 28, 2015

“..The sweetest male creature came before the audience played by Margarita Gritskova. Her charmingly careless Cherubino keeps his boyish winsomeness even in a woman’s dress”.
Die Presse, newspaper, July 30, 2015

“..But Cherubino, who was charmingly represented by Margarita Gritskova’s soft mezzo, hides in this very bathroom. Small wonder that not only all women in the castle lost their heads over the lovely hormone shooting lad (and vice versa), but so did even young Don Basilio, marvelously played and sang by Paul Schweinester, who recklessly sought him out during the first act”.
Klaus Kalchschmid,, 28 Juli 2015

“..Margarita Gritskova played and sang her part of Cherubino with silky elegance”.
Der Tagesspiegel, July 2015

“..Cherubino played by Margarita Gritskova is a frisky little imp; and the player herself charms the audience by her boyish and still soft mezzo. When grandiosely anticipative Feydeau and “doors opened – doors closed” farce are shown from the stage in the second act, the audience laughs genuinely”.
DrehPunktKultur, July 2015

+ RECITAL, BAD WILDBAD, July 2015, Königliches Kurtheater. Bad Wildbad, Germany


Bad Wildbad. Start of the 27th Opera Festival “Rossini in Wildbad” which took place in fully packed Royal resort theatre was marked by a special event: Margarita Gritskova (27) presented a night of songs and arias to the public. The Russian mezzo-soprano, who is often called a “bright star at the opera sky” was a guest as the Emperor Ottone in the Adelaide of Burgundy at the last festival in Bad Wildbad. This time she gave a performance at the night of songs. The singer demonstrated her talent to personate singing late romantic songs by Sergey Rakhmaninov as well as elegy chants by Nikolay Rimsky-Korsakov. Her admirable and inimitable voice timbre especially fascinates the audience.

In the interview held in Vena State Opera the singer once confessed: “Singing is all my life”. This love to singing clearly revealed itself at the concert that took place in the Resort theatre.

Speaking about performance by the Russian singer, Eduard Kiprsky should be mentioned. Being almost Margarita Gristkova’s peer, the young piano player does not just accompany her on the piano, but deeply feels her singing and wins the audience with his inspired playing characterized by extremely light touch and differentiated articulation. Besides, Margarita Gritskova included three of his songs, which she sings very emotionally, into her program (Devotion, Grace and Request). The audience especially liked three of the accurately performed Shubert songs: “Gretchen at the Spinning Wheel”, “Forest Tsar” and “Death and the Maiden”, since the content of these songs is well-known to the audience.

Seven Spanish folk songs composed by Manuel de Falla leave a completely different impression from the singer’s performance and enchant the audience with their calmness, dramatism, melancholy and sadness. Performing these songs, Margarita Gritskova managed to get the feel of them which won recognition from the public.

The Rossini Festival cannot be imagined without the tunes composed by him. Having performed the arias and cavatina from the “Barber of Seville”, “Adelaide of Burgundy”, “Tancredi”, and “Cinderella”, Margarita Gritskova carried the night of singing to the sphere well-known to the audience and demonstrated her usual impeccable coloratura in bel canto.
Götz Bechtle,, July 14, 2015


“The criminal couple also turned out to be new, and Margarita Gritskova demonstrated all the depth of her role to the public showing erotic appeal as well.”
Wolfgang Habermann, Online Marker, June 2015

“Particularity of minor roles is also disarming, and one of them is Margarita Gritskova as Maddalena, bringing the image of Carmen to mind.”
Wiener Zeitung, June 18, 2015

“A chance to enjoy Maddalena’s charming singing has to be waited for. This role is sometimes considered as one for mezzo-soprano, but even without too low sounding, it can embrace all the colors and specifics of the alto. Margarita Gritskova is an honor to this role.”
Lotar Shvaitser, Online Marker, June 22, 2015

“Margarita Gritskova is on the contrary stunning as Maddalena showing salacity and eroticism in combination with freedom from excessive vocal superiority, she was just perfect.”
Peter Duzek, Online Marker, June 26, 2015

“If we talk about ladies some words should be said about charming Maddalena performed by Margarita Gritskova, who appeared to be a flirt, sometimes not vulgar enough for somebody of her trade, whose singing was full of tantalizing elegance”
Peter Skorepa, Online Marker, June 30, 2015


"Margarita Gritskova proved in the role of Smeton, that she is not out of her league at the premier cast. From the low up to the high register she sang lovely in one breath, played a true lover and a misfortune giver. Nevertheless, it's up to the opera, where she hopefully stays as a member of the ensemble for a long time, even if one wishes her a huge career."
Wolfgang Habermann, Neue Merker, April 2015

"Margarita Gritskova who is the travesty role of the betrayer Smeton against his will, plays it in her ample woman's shape full of authority; she let us hear delightful tones and spreads desire of love melodiously."
Wilhelm Sinkovitcz, die, April 2015

"Margarita Gritskova soulfully embodied the page Smeton with magical colors and emotional consumption."
Der Standard April 2015

"The third lady in this union, also wearing man’s clothes as well very attractive, was by Margarita Gritskova in good hands. Later as she ripped her doublet, Henry VIII could have recognized, what was hidden under this doublet. However Luca Pisaroni beheld jealously only the amulet, with which he believed to discover the adolescent longings of the young page."
Peter Skorepa, Neue Merker, April 2015

"In the role of Smeton and as a member of the ensemble Margarita Gritskova had the possibility to perform the role well. The young Russian mezzo-soprano singer used the possibility and sang the page so light with nice sounding voice – also the actor’s stage presence was magnificent."
Maria und Johann Jahnas, Neue Merker, April 2015


The Flowermaidens benefit this time, compared to the last year, from the essential better combination of voices. Ileana Tonca, Olga Bezsmertna, Margarita Gritskova, Hila Fahima, Caroline Wenborn and Suzanne Hendrix enchant us and warm Parsifal properly up.
Maria und Johann Jahnas, Neue Merker, April 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."

"Some changes into the program brought the Russian Margarita Gritskova (mezzo- soprano) with the works of Rossini, Debussy, Rachmaninov, etc.; she was brilliant with her pitches, both as the soloist and in the duet with José Carreras. The instrumental accompaniment, unusual and initially in need to be familiar, consisted of the pianist Lorenzo Bavaj and a string quartet. The restrained applause at the beginning grew louder – as awaited – by the five encores which José Carreras and Margarita Gritskova sang both solo and together. Properly, the audience left the opera house with „lips fall quiet” from „The Merry Widow”."
Wolfgang Katzböck, OE24, März 2015

".. Franz Schubert’s „Ave Maria“, performed in Duet with Margarita Gritskova (27), leads not only now to another world. Beautiful voice and much temperament – that was a marvelous idea to have a rising star at mezzo-sky – with a huge career leap for Vienna and this year for The Salzburg Festival – on this evening by the side. Beautiful voice, temperament at her appearance, coquetry and sensuous charisma were her trump cards at singing the best masterpieces to raise the spirits of great Masters."
Georgina Szeless, Neue Volksblatt, März 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


"...Therewith we come to the climax. The young Russian Margarita Gritskova, who is since this season 2014/15 an ensemble member at the Vienna State Opera, shined with the rondo of La Cenerentola.”
Klaus Ulrich Groth, Neue Merker, March 2015

„Belonged to the ensemble of the Vienna State Opera, Margarita Gritskova impressed with Rossini.”
Brigitte Pavetic, Die Welt, March 2015


"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


"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. The mezzo-soprano sang in duet with Chen Reiss (soprano) who was in the role of charming Ilia."
Peter Jarolin, KURIER, October 2014

"At the premiere on Sunday evening the lovers dominated: Ilia, who is the Trojan princess and the prisoner of war, wins the heart of the Cretan's prince Idamante. The both promise to go with each other through thick and thin - and how they act in the middle act of the Mozart's most experimental opera, this captured us: The duet Chen Reiss and Margarita Gritskova sounds charming and melodious. The following major arias portray the soul buzziness of the young people warily who found each other in this difficult time. Gritskova (Idamante) sings (Violin- solo Rainer Küchls) the major scene "Non temer", specially composed for Vienna by Mozart, and crowns the lyrical emphasis with the elegant coloratura."
Wilhelm Sinkovicz,, October 2015

"At the end it’s enough for the crowd. It revolves and disempowered the king (with Margarita Gritskova’s remarkable timbre in the role of Idamante)."
Ljubiša Tošić, Der Standard, October 2014

"The magnificent state opera choir appears completely traditional and stays on the background. Also the Vienna Philharmonic Orchestra under the baton of Christoph Eschenbach sounds subtle and cautious. Seldom forces a melting sound of Mozart through, so in Violin-solo to Ilia’s aria, or in the scenes of the excellent young mezzo-soprano Margarita Gritskova."
Franziska Stürz, BRKlassik, 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

"Мargarita Gritskova coped brilliantly with the role of Idamante; her voice is strong, in addition she presents her interpretation with the tender piano phrases."
Reiner Elstner, Wiener Zeitung, October 2014

"The young Margarita Gritskova is the breathtaking and full of soul Idamante. She sings additionally the integrated aria „Non temer, Amato bene”, which was written not actually for the stage, but for Viennese Mozart’s concert." Helmut Christian Mayer,, Oktober 2014

"What you also want to hear in Mozart are beautiful voices. Not so much for bel canto improvisation in the da capo arias, as much as in the purest sense of bel canto meaning sweet singing, as this is the way the characters express the sincerity of their feelings. The cast all fit this requirement admirably, with Margarita Gritskova most impressive as Idamante."
Keris Nine, operajournal, 14.10.2014


"That’s a great musical pity that this opera is performed so rarely, whereas the numerous arias and duets are absolute hits. Above all, Margarita Gritskova performs the travesty role of Ottone. She scores with the mellow and voluminous Mezzo already in her entrance cavatina „Soffri la tua sventura” in which the king decides to follow Adelaide’s cry for help. Also in the marvelous duet at the end of the first act „Mi dai corona e vita” in which Ottone and Adelaide realize their affection, she shares some ardency, which gets under the skin, together with Ekaterina Sadovnikova in the title role. It doesn’t disturb that the stage direction doesn’t try to hide that Ottone is sung by a woman and is optically apart from Gritskova’s costume not mannish. Ottone’s final aria "Vieni: tuo sposo e amante" at the end of the second act brings the happy future for Ottone and Adelaide. Gritskova scores with her amazing mezzo – what one can expect from this singer in the future!"
Thomas Molke, OMM, Juli 2014

"Margarita Gritskova in the role of the King Ottone is extraordinarily good. Quite natural she can and does the ruler’s gestures with little short of carelessness. Vocally the mezzo-soprano singer is an elemental force and blasts conventionalities of Rossini’s repertoire. She fulfills well in this travesty role to build a delicate balance act between the authority and the indulgent ruler at once, and this is all by not hiding her female nature."
Armin Friedel, Stuttgarter-Nachrichten, Juli 2014

"The extraordinary and hurried ahead reputation of Margarita Gritskova as an ensemble member of the Vienna State Opera has been not only confirmed, but encouraged by the point that the gates of the most important stages of the world have to be opened already now for her. She is the mezzo-soprano, a beguiling sensuous nature and a streaming organism from her warm lower up to the beaming emphatic upper register, slight in the behavior, excellent in the coloraturas and easy in all important articulation – this all enables her to handle playfully with a suitable expression without giving an impression of wasting the mezzo. So becomes the character of Ottone, completed with the elegant and ever-present appearance of the Russian, the highest credibility. A deserved hurricane of fascination followed shortly after her entrance aria."
Udo Klebes, Neue Merker, Juli 2014

"Firstly, Margarita Gritskova is to be called the androgynous Ottone. The Russian mezzo-soprano singer has already shined at the Vienna State Opera in the role of Angelina in "La Cenerentola" and in the role of Rosina in the „Barbiere di Siviglia“ („The Barber of Seville”); she proved in Bad Wildbad that she became self-confident for the opera seria. Her versatile mezzo has the slight noblesse for tender moments of the meeting with Adelaide as well as for the sharp final like the quartet in the second act and the triumph at the end. Gritskova created the entrance cavatina „Soffri la tua sventura“ as a classic example of the controlled, expressive singing; The Recitative „O sacra alla virtú” is the nicest, solemn „canto spianato”. Gritskova also inserts the coloraturas and ornaments; her change of register is blending and ensures the consistently produced tones."
Werner Häussner, Neue Merker, Juli 2014

"Margarita Gritskova in the travesty role of Ottone is a perfect sensation: her mezzo is harmonious in all registers and explosive pitches. She’s done it already up to the Vienna State Opera".
Heinz W.Koch, Badische Zeitung, Juli 2014

Gritskova is a modest finding both in acting and singing. Her Mezzo is voluminous, at lower, middle and high register and full of bel canto elegance if the role requires. She copes with the vocal breaks in the most expressive moments with an ease and sophistication which astonish a lot."
Ralf Siepmann, "", Juli 2014

"Margarita Gritskova was remembered by her performance of Ottone’s role. As an opera singer with deep and pure mezzo-soprano, she performed all the coloratura professionally, sang high notes and shared her romantic feelings honestly. What about her final aria in rondo of Adelaida, it burst like a firework and totally fascinated the audience"., July 2014

"The role of Ottone was given to contralto singer Margarita Gritskova, whose velvet tone of voice fascinates everyone”.
POLY, July 2014

"The Bad Wildbad performance is enjoyable enough, Margarita Gritskova as Ottone has a smooth voice over the whole range, a clear enough diction and a fair coloratura."
"Il giardino di Armida", 29.07.2014


"Margarita Gritskova, who hadn’t been known for the opera fans since her appearance at the opera ball this year, but already been cheered from the state opera audience in the role of Annio in „La clemenza Tu Tito” („The Clemency of Titus”), makes her debut in the role of Angelina."
Yosep Cang, Neue Merker, 23.05.2014

"Margarita Gritskova is a young nice Angelina with the right mezzo tone. This technically perfect qualified artist sings everything stylistically exact, looks very good even in the unfavorable costumes and also tries to play lively and to do her best on this régi."
Elena Habermann, Neue Merker, 28.05.2014


"Margarita Gritskova let in the role of Annio to hear the expression and commensurateness.", Mai 2014

"It was a pleasure to hear Margarita Gritskova in her debut role of Annio."
Stephan Burianek, Wiener Zeitung, Mai 2014


"The image of Rossini had „Pepp” and a youthful spunk – but, nevertheless: The star of the evening was called Rosina who demonstrated that the Russian Margarita Gritskova (mezzo-soprano) had been entitled to the nicest hope of the era by Dominique Meyer. The 27-year-old comes from St. Petersburg, studied beside song also piano and received her education in her hometown. She won many competitions (i.a. international contest n.a. Pavarotti in Modena) and now, already for 2 years, belongs to the ensemble at the Vienna State Opera. Since her appearance on the opera ball in February, 2014 she cannot be traded like an „insider tip”. The young lady is attractive; the voice comes into his own best for Rossini. The coloratura is shining, the pitches are beaming and the vocal range will (still) be per se achieved. On the premiere of La Cenerentola she appeared as a stepsister very positive – now in June she will perform La Cenerentola herself at the opera house („Das Haus am Ring”). One may be glad about it."
Peter Dusek, NeueMerker, März 2014


"Margarita Gritskova in the role of Dorabella was the gem of the evening, not because she is so pretty as a picture and in a good mood, but because she has reminded us of the roles predecessors. The voice is a real mezzo, which sounds very brazen, but it’s not a precious metal and not a sheet metal which from her throat there comes. The skill with which she sings Mozart at this young age let us conclude the results of the very good education."
Renate Wagner, Neue Merker, Januar 2014

"In „Così fan tutte“ („Thus Do They All”),beside Benjamin Bruns, shone the gifted with the wonderful Mezzo: agile and as well as the whole cast playful Margarita Gritskova in the role of Dorabella, joyful Sylvia Schwartz (soprano) in the role of Despina and Pietro Spagnoli in the role of Don Alfonso."
Wilhelm Sinkovicz, Die Presse, Januar 2014

"Margarita Gritskova was successful in her debut role of Dorabella. She shed the conscious love in the „core” duet with B. Bruns who was in the role of Ferrando."
Daniel Wagner, Wiener Zeitung, Januar 2014

+ THE VIENNA OPERA BALL 2014, February 2014

“Margarita Gritskova, a young opera singer from Russia, will sing an aria from Gioachino Rossini’s “Tancredi” during the vocal part of the performance. As Dominik Meyer, the director of the Vienna Opera Ball, notes: “Although young, Margarita Gritskova is already a magnificent singer, she has brilliantly performed more than one role in our opera”.
Breaking News, January 2014

"What about vocal, Margarita Gritskova showed her great talent to the audience, having performed an aria from the "Tancredi" by Gioachino Rossini. As the organizers of the festival noted, the grand opening of the Opera Ball was seen by one and a half million viewers in Austria last year, and a little less – in Germany and Switzerland. The same or even higher number of views is expected this year."
Chaspik Newspaper, January 2014


“As well as 200 years ago, at the premiere in Rome, the great Italian composer's comedy was restored at 8:00 p.m. on the stage of the Great Hall of the City Theatre by a brilliant company led by Margarita Gritskova, a renowned Russian mezzo-soprano singer, who sang the role of Cinderella, and the Mexican tenor Javier Camarena sang the role of the prince from this tale, in which, unlike usual fairy-tales, the magic is not the fairy wand but in impressive amplitude of vocal and stage talents of the performers. Applause: At 11:00 p.m. the curtain fell, the audience in loges rose in applause, and few spectators threw yellow flowers to Margarita Gritskova."
Sofia de Hoyos, EL HORIZONTE, December 2013

“The musical piece based on the fairy tale "Cinderella" is presented by the talented company of artists, complemented by superb vocal performance by the Russian mezzo-soprano singer Margarita Gritskova who appeared before the audience in the character of Cinderella.”

".. The orchestra and the voices of the singers, especially the young Margarita Gritskova and Javier Camara, sounded amazing."
Javier Treviño Castro, VANGUARDA, December 2013


“..The quartet of soloists was also added by twenty-six-years-old Russian mezzo-soprano Margarita Gritskova, who used to work for three seasons at the National Theatre in Weimar until recent invitation to the Vienna State Opera troupe. Attractive black-haired young woman showed her agreeable languid voice singing arias from "The Barber of Seville" by Rossini and Habanera from "Carmen" (then a comic ballet performance with the hand fan was also presented to the public). Gritskova also starred as a proud Spaniard in a spectacular and hilarious African Duo from zarzuela by Caballero. In contrast to the restrained Anita Hartig, the singer has appeased neither singing passion nor any other. It seemed that her partner - of course, again Carreras - does not want to approach her, fearing that it will blow him out..."

"Margarita Gritskova (mezzo-soprano) scored in the Rosina’s area „Una voce poco fa” („A voice a while back”) from Rossini’s „ Barbiere di Sevilla” with the excellent coloraturas. She proved her talent both at singing and acting in the area „Habañera” from the opera „Carmen” by Georges Bizet. She is a talented junior artist and in the future it will be for sure more to come!"
Sylvia Kreye, Wiener Bezirkszeitung, September 2013

"Then came turn of Margarita Gritskova, a mezzo-soprano singer, who performed perfectly at ease Carmen’s Habanera with a fan in her hand. But later she surpassed herself in her acting, while performing duet and jota from zarzuela “El Duo de "La Africana" with Jose Carreras: a magnificent version, charming, but fun at the same time. The audience really enjoyed such full interpretation, impressive both vocally and on the level of recitative. An outstanding abundance of mezzo-soprano, as well as participation of the artist of the highest level, such as Carreras, has become key components of the huge success of this beautiful duet."
Blog colaborador de la Fundación Josep Carreras, September 2013


"V.Naforniţă in the role of Clorinda and Margarita Gritskova in the role of Tisbe illuminate. The entrance fee was worthy to come, to see and to listen to these young and extremely talented singers. If the both are on the stage, one can acquire a taste for the régie as well."
Grand Inquisitor Season 2012/2013, Juni 2013

"Merely the work with V.Naforniţă (Clorinda) and Margarita Griskova (Tisbe) is really worthy to the prominent abilities of these singers. The fact that two minor parts dominate during the performance, is quite rare. But to listen to the both and to watch them is a great pleasure. The scenes with Naforniţă and Gritskova belong to be the absolute highlights of this performance."
Grand Inquisitor Season 2012/2013, Juni 2013

" One must simply love this opera... At least, it will not be performed every day and V.Naforniţă, Margarita Gritskova and Rachel Frenkel stay on the stage. The scenes with Naforniţă and Gritskova in their roles of Clorinda and Tisbe are just worth seeing. Indeed, one can easily pay attention to these excellent singers and spectacular actresses. The both are just wonderful. The tremendous facial expression, the magnificent gestures and their strong voices is a perfect combination."
Grand Inquisitor Season 2012/2013, Juni 2013


"Everyone was sure about the successful debut of Margarita Gritskova in the role of Rosina. The beginner from the ensemble at the Vienna State Opera is „temperamental, lively, pretty, wonderfully, lovely and just fine“. These are the attributes from the critic for her performance and singing."
Online Merker, Juni 2013

"The strong point of the Vienna State Opera is its excellent ensemble. With the performance by Gioachino Rossinis „Il of barbers Tu Siviglia” Javier Camarena wasn’t only the member of the ensemble but, nevertheless, nobody must be shy at naming them „star cast”. Dominique Meyer as the Director of the Vienna State Opera must be proud of the absolute appreciation of the ensemble with the excellent singers who for sure will become famous all over the world soon. One of these excellent talents is certainly Margarita Gritskova who celebrates her debut in the role of Rosina. Gritskova can shine in the enormous impressive pitches as well as in tender piano pieces. Moreover, the young Russian could convince as an excellent actress. One can only congratulate both the Vienna State Opera and of course Gritskova for such an energetic and fascinating Rosina. I fear only that Margarita Gritskova will remain not too long as the ensemble member. Her talent is too brilliant, her voice is too breathtaking. I admit it sounds like a declaration of love than a critic. Thus repertoire images give pleasure. Margarita Gritskova and Javier Camarena are those, one really should not miss. It feels good to make such repertory suggestions. Margarita Gritskova and Javier Camarena – one may not miss a chance."
Grand Inquisitor Season 2012/2013, Juni 2013


"..In the nice Matinée series “The ensemble introduces itself” both Margarita Gritskova and Nikolay Borchev showed their excellent skills. What young, excellent singers are in the ensemble at the Vienna State Opera! Whereas I remember Margarita Gritskova very positive. (...) Gritskova made the first good impression with Rossini’s aria „Di tanti palpiti” from „Tancredi”. The excellent performance finished the mezzosoprano with the sensational high tone which turned the whole audience into the excitement. Splendid. (...) Margarita Gritskova could make with the „Contro un cor” from “il barbiere di Siviglia” an advertisement for the „Barbier”- series in June, where she will stand on the stage with Borchev. The both showed in the fascinating duet "Duque io son" that it will be nice performances. The acting gives also hope. (...) Gritskova succeeded also in her change into Russian. Her „Serenade“ by Rimsky-Korsakov was wonderful. Both of them, Borchev with the „Nye vyer, moi drug” („Do Not Believe, My Friend”) and Gritskova with the „Kaby znala ya” („If I only know”) impressed with Tchaikovsky’s love songs greatly. The duet “Din din din” by Evgeny Yuriev concluded the wonderful Matinée. Unfortunately, after a delightful addition of Gritskova’s and Borchev’s dancing, this musical and pleasant morning was already over. Kathleen Kelly accompanied with the excellent piano music. It shouldn’t be kept silent that Margarita Gritskova looked just breathtaking in her wonderful grey dress. With these singers the opera will have a lot of pleasure. It would be nice if the both of them stay longer at the Vienna State Opera."
Grand Inquisitor Season 2012/2013, Mai 2013


"What is up to the ladies of the evening, they all made their role debuts, they gratified so much (Margarita Gritskova was in the role of lovely and vocally emphatic Bersi)."
Renate Wagner, Neue Merker, Mai 2013

"One has heard better of the always likeable Margarita Gritskova than her Bersi (Maddalena’s confidante, who walks the streets to support her mistress)", 20.05.2013

+ HOFBURG BALL, Vienna, February 2013

".... Margarita Gritskova, a "rising star" at the Vienna State Opera was brilliant at the opening ceremony."
APA-OTS, Februar 2013


"V.Naforniţă and Margarita Gritskova are known quite positively from the minor roles in the „Ariadne”. They were, to my mind, the protagonists who convinced us mostly. The role of „bad” sisters is tailor-made for both – and the personal régie was really very good here. The both shaded the actor of Angelina – concerning the stage presence as well as vocally. Tisbe, performed by Gritskova, was presented as an erotic temperamental bundle. (...) Hopefully, Margarita Gritskova will perform the biggest pieces in the future after such a persuasive performance."
Kurt Vlach, Neue Merker, Januar 2013

"Apropos of mean and scheming: Valentina Nafornita and Margarita Gritskova are beauties visually and vocally but convincingly rotten to the core in their roles as Clorinda and Tisbe, Don Magnificio's preening daughters"
George Jahn, THE BIG STORY, 29.01.2013


"As Cherubino, Margarita Gritskova offered the all-round more satisfying performance in the evening – her fruity mezzo projects well in the hall and she sang with true Mozartian poise."
Kanagawa Kenmin Hall, I HEAR VOICES , 20 oct. 2012


"The two new members of the ensemble introduced themselves to the audience in secondary roles – on one side is the young Kurier-scholarship holder Chinese Xiahou Jinxu (tenor) in the double role of Conte di Lernia and royal Herald, on the other side is Margarita Gritskova with her lovely timbre in the role of Thibault (Tebaldo). It’s too early for some conclusions, but my first impression: the both of them have well educated voices, Jinxu’s timbre is bright (something what I noticed by some Korean tenors – they sound somehow similar), but she has a clear voice. Gritskova who is from St. Petersburg has all requirements to become the darling of the (male) audience."
Kurt Vlach, DerOpernfreund - 44 Jahrgang, September 2012


"It’s just breathtaking how Margarita Gritskova commemorates the revenge aria of the Bradamante; chilly, profoundly dark and with all the coolness the fighter sings about the destruction campaign of Alcina’s island."
Frauke Adrians, Thüringer Allgemeine, Februar 2012

"One could refuse the music. Would there be not Gritskova who sings her part really masterfully. Her „Verdi prati” - very slowly and very gentle - was the representation of the adagio singing full of passion. Otherwise, she implemented her perfect mezzo so light with her adventurous coloratura variety and won with tone colour the psychological deepness so light as if it was just a child's play."
Wolfgang Hirsch, Thüringer Allgemeine, Februar 2012

"Margarita Gritskova enchants the audience with her dark timbre and clear voice in her role of Bradamante."
Tatjana Mehner, Thüringer Allgemeine, Februar 2012

From Irina Bogacheva’s interview: "..or Rita Gritskova who is a great talent and a beautiful woman, natural Carmencita! She also won the second prize here, and immediately after that - the first prize at the international competition in Spain. Immediately she was invited to the Weimar Theatre in Germany, and now she works at the Vienna Opera."
(Irina Bogacheva)


"Weimar. The audience - dressed elegantly and luxuriously– thanked the régie: One could forget acrobatic and other Entr'actes in favour of the most essential point - Carmen! Everything focused extraordinarily on - Carmen! The 24-year-old Russian Margarita Gritskova, who has been performing for two years at the German National Theatre and in the e-werk (the additional venue for music and theatre in Weimar) with Monteverdi, turns out to be a new star on the theatrical sky. And we were nearby when it appeared... Already this year she moves to Vienna, got out of our sight - the woman with the incredible voice and thereby the absolute charm."
Lions Knipping, Thüringische Landeszeitung, Januar 2012

"Gritskova belongs to those women who don’t stint with their charms. They are placed certainly far more as our eye meets, somewhere between the diaphragm and the articulation apparatus. This trier reaps with the considerable discipline and fruity timbre her melodic exciter like apples from the tree of the desire; one guesses, the mature the more lasciviousness she will put into this role. Unfortunately, to observe the further development one may need to visit the Vienna State Opera from the next autumn."
Wolfgang Hirsch, Thüringische Landeszeitung, März 2012


"Margarita Gritskova (mezzosoprano) moves from Weimar to the Vienna State Opera at the end of this season. The fact proved the Director of the German National Theatre (Deutsches Nationaltheater) Karsten Wiegand. Enchanting in the role of Ottone at the e-werk (the additional venue for music and theatre in Weimar): The singer Margarita Gritskova succeeded in the vocal fach (coloratura mezzo-soprano). The fact that Gritskova leaves the opera house in Weimar after only two seasons, regrets so much, said Wiegand. „Fortunately we have discovered her.” In summer 2010 the 24-year-old came directly from St. Petersburg State Conservatory to Weimar. In the homeland she’d made a strong impression at her final examination in the title role of Bizet’s „Carmen”. Precisely this role she will play on the 28th of January at the 7th Weimar opera ball. „She has a brilliant stage presence and an incredibly nice voice with the unique timbre”, fancies Wiegand. It seems to be a compliment for the ensemble politics of the German National Theatre (Deutsches Nationaltheater). Gritskova plays currently the role of Ottone in „The Coronation of Poppea“, the role of Cherubino in „The Marriage of Figaro” and the role of Flora in „The Fallen Woman”. In February, she will play the part of Bradamante from George Handel’s „Alcina”. As a guest she performed at the Hungarian State Opera House and at festivals on the Tenerife (Spain) and in St. Moritz (Switzerland)."
Wolfgang Hirsch, Thüringische Landeszeitung, Dezember 2011

"Ottone (Margarita Gritskova) is surrounded by the dark-sonorous tone color - „the one on the lips, the other in the heart”."
Ursula Mieke, Thüringer Allgemeine, September 2011


"In the beginning, Olga is a playful, vivid girl interpreted by the Russian mezzo-soprano singer Margarita Gritskova. She was great on the stage, performed the way it must be performed, and in her voice you could find a variety of tones. She has the charm and skillfully uses it. The viewer's attention is stuck to her so that her sister Tatiana remains in the shadow.”
Jacques Hétu, ResMusica, 25 oct.2011

"The nature gave Margarita Gritskova, the Russian mezzo-soprano singer, a very rich tone of voice. In the first act she was a real Carmen, who popped in the house of Olga Larina.”
Richard Boisvert, Le Soleil (, 24 oct. 2011


"The new season at the German National Theatre (Deutsches Nationaltheater) begins with a big theatrical party. The theatrical holidays are over; the German National Theatre welcomes his artists, technicians and audience. Moreover, there were a lot of hats off in the opera house for the new mezzo-soprano Margarita Gritskova from Russia."
Thüringer Allgemeine, August 2010


"Marina Zyatkova: “A brilliant soprano grows up, with the golden voice, similar can be said of Margarita Gritskova from Russia with her exceptionally versatile performance of frivolous Cherubino in which she appears as a female, then as a male"."
Ingelore Balzer, engadiner Post, Juni 2010


„Margarita Gritskova impressed with her charisma and artistic excitement, performing the aria from the opera „Not Only Love” by Rodion Shchedrin. She wept, she whispered, she was cold as ice, she was as hot as flames and she has completely won the audience"
Semen Zaborin,, November 2009