"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, Operpresse.com, 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, Opernnetz.de, 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