2023 July 8, 11, 14, 16, 19, 21, 25, 27, 29 Aug 1, 4 , Giuseppe Verdi, Premiere “Don Carlo”, [debut in the role of Eboli]
«Margarita Gritskova masters her first Eboli with bravura and expressive drama-mezzo.»
Ernst B.Strobl, Salzburger Nachrichten
«The Russian mezzo-soprano Margarita Gritskova, as an ambitious, zealous and career-addicted princess Eboli, sings as if she is constantly under power. Thus, she spreads a persistent feeling of smoldering tension, which then also escalates into an act of revenge. The first signs of this can already be seen in her first aria "Nel giardin del bello", which sounds engaging, but cannot deny a spark of inner restlessness in Gritskova’s interpretation. Her repentance and unconditional withdrawal into the solitude of a monastery sound truly. Whether this decision is actually final, however, may be doubted by this easily excitable, hypersensitive woman who is fighting for recognition. Unless she soon becomes an abbess.»
Manfred A. Schmid, Online merker
«Margarita Gritskova’s passionate Eboli, which increased from the restrained "veil song" over angry impulsiveness in the third movement of the nocturnal garden picture to an "O don fatale" crowned by crystal-clear top notes.»
Josef Schmitt, Die Presse
«The best comes to the end: Margarita Gritskova as Eboli. One literally depends on her voice and on her presentation. This Eboli, who became an intriguer out of prevented love, is the highlight of an evening consisting of highlights.»
Edwin Baumgartner, Viennese critic
«As Eboli, Margarita Gritskova scored with passionate charisma.»
NOE ORF.at
«The same applies to Margarita Gritskova as a passionate Eboli, with her temperament paired with vocal charisma.»
Peter Jarolin, Kurier
"Margarita Gritskova was a great eboli, she has the realy elevation for this game, but also the depth too, plus a luxurious appearance.“
8.8.2023, online merker
25.11.2022, 10.03.2023 G.Rossini, “Cenerentola” [Angelina] Victorian Opera in Melbourne, Australia
“ Russian mezzo-soprano Margarita Gritskova was an unmitigated delight from her first full-throated note. A rich mellow voice, even across its range, allied with a beguiling stage presence, she made every intricate note count. “Nacqui all’affano…Non piú mesta” was effortlessly rendered, accompanied by bodily twirls on the concluding roulades. “
11 June 2022. Recital with Maria Prinz [Piano] at “the Klassik im Burghof” festival in Klagenfurt. Klagenfurt, Austria
Whether it be the “Habanera” aria from Carmen by Georges Bizet, or the “Parto, parto” aria from La clemenza di Tito by Wolfgang Amadeus Mozart, during the performance of which the singer entered into an intensive dialogue with the clarinetist Markus Fellner: she sang only those arias she calls her favourite. During the concert that opened the Klassik im Burghof festival, Klagenfurt (Carinthia), Margarita Gritskova, an opera star who until 2020 was one of the Vienna State Opera troupers for many years and performed at many world-famous opera stages. The audience was not only amazed by the singer’s deep, profoundly expressive voice, high culture of using legato, admirable musical phrasing, but was also moved by the wealth of colours and shades, stretching from a delicate piano to unbelievable dramatism. Moreover, the voice of a Russian singer from Saint Petersburg, who is only 34, has an enormous range reaching remarkable heights. This voice astounded the audience by impeccable coloraturas, for example, when singing an aria “Cruda sorte” from Gioachino Rossini’s “L’italiana in Algeri”.
Apart from famous arias, ten Gaetano Donizetti’s seldom performed songs were sung, which will shortly be featured on CD, the most impressive being “La lontananza” and “Il barcaiolo“. After an entr’acte, only music pieces by Russian composers were presented, these were mostly melancholic songs, for instance, a “Lullaby” by Pyotr Ilyich Tchaikovsky, “Oh, My Dove” by Sergei Prokofiev, “Flying Wind” by Nikolai Rimsky-Korsakov and Sergei Rachmaninov’s romance “Spring Waters”, whose emotional intensity literally overwhelmed the audience.
The singer’s performance was accompanied by Maria Prinz, a sensitive and masterly pianist, who has been her accompanist for many years.
The singer’s performance was honoured by a standing ovation, and she sang for them Cherubino’s aria from Le nozze di Figaro by Mozart as an encore!
“opera-online”14. Juni 2022 Dr.Helmut Christian Mayer
25, 28 november und 2 december 2021. Gaetano Donizetti, “Anna Bolena”, [Seymour] Staatstheater am Gärtnerplatz, Munich, Germany
„Ihre Gegenspielerin, die Mezzospopranistin Margarita Gritskova als Jane Seymour, ist nicht nur in Rolle sondern auch stimmlich ein Kontrapunkt. Ihre Stimme klingt so flexibel wie ihre Stimmungen zwischen Gewissensbissen und Machtgier.“
Barbara Hauter, 4.12.2020, Klassik begeistert
„Die Mezzosopranistin Margarita Gritskova schafft die Herausforderung ohne schrill oder überdramatisch zu wirken. Sie bleibt leicht, presst kaum und konzentriert sich auf eine nuancenreiche Stimmführung in bestens beherrschter Technik. Das Duett der Beiden wird zu einem Genuss von Belcanto für die Zuhörer, die nur in reglementierter Zahl teilnehmen dürfen.“
Dr. Helmut Pitsch, 28.11.2021, OperaOnline
“Doch Donizetti und sein Librettist haben die Vorlage u.a. für eine großartig erfundene und vor allem grandios komponierte Szene zwischen den beiden Rivalinnen genutzt, in der sich Jane zu ihrer Liebe bekennt und gleichzeitig versucht, Annas Leben zu retten. Jennifer O´Loughlin in der Titelrolle (bravourös, differenziert, gestaltungsintensiv) und die bemerkenswerte, russische Mezzosopranistin Margarita Gritskova als Jane (was für ein kraftvoller und warmer Mezzosopran!) gestalten sie hinreißend.”
Petra Herrmann, 26. November 2021, Kultura-extra.de
“Dass ihre Rivalin Margarita Gritskova als Giovanna Seymour mit mächtigem Mezzo orgelnd aufdreht, ist ein wirkungsvoller Kontrast.”
Robert Braunmüller, 28.11.2021, Abendzeitung
„Giovanna Seymour mit mächtig klangvollem Mezzo wie für’s Nationaltheater: Margarita Gritskova.“
Klaus Kalchschmid, 26.11.2021, sueddeutsche.de
“Giovanna Seymour, noch Annas Rivalin, aber, letztlich, die dritte Frau Heinrich VIII., dargestellt von Margarita Gritskova glänzt mit einem mächtigen, kraftvollen Mezzosopran. Heinrich VIII.”
Daniela Zimmermann, IOCO, Kultur im Netz
30 October 2021; Giuseppe Verdi, Premiere “Aida”, [debut as Amneris] GNT Weimar, Germany
“The real sensation was Margarita Gritskova in the role of Amneris. The timbre of her voice combines dark depth and tall heights merging into vocal power bursting out. She became the very dot above “i” in “Aida”, which will not only be vigorously discussed by the public, but also became for her a sensual and delightful theatrical event!”
Joachim Lange, Südthüringen.de, 31.10.2021
“All of them were outshined by Margarita Gritskova, whose mezzo-soprano turned out to be truly stunning. In the role of Amneris, she returned to the stage of the German National Theater in Weimar, in which the singer performed since 2010, but from which she was literally immediately lured away to Vienna. The thirty-three year old singer amazes as the force of the elements, impressing the audience with the dramatic power and rich timbre of her mezzo-soprano, for which there seem to be no boundaries. Even if there were no pyramids on the stage, “Aida”, staged at the German National Theater in Weimar, would be discussed without them.”
Bettina Volksdorf, MDR Kultur.de, 31.10.2021
“And yet, the star of this unforgettable premiere was Margarita Gritskova. The voluminous, dynamic and mystically shaded mezzo-soprano of the former singer of the Weimar Theater allures, cooes and cries, embodying Amneris, who is capable of throwing even the Viennese opera audience to her feet, performing in front of them in her new art homeland.”
Wolfgang Hirsch, Thüringer Allgemeine, 31.10.2021
“When you watch this “Aida”, you can’t help but ask yourself why it is not named Amneris. The part of mezzo-soprano performed by Margarita Gritskova, who embodies the role of Amneris, cannot but arouse admiration. She captivates the audience with the deep timbre of her voice and the ease of performance of the great Italian opera, combined with an elemental power that even the highest registers are unable to subdue. Bravo!!! Alas, the singer’s decision to move from the German National Theater to the Vienna State Opera is quite understandable. Nevertheless, this premiere gave the Weimar audience the opportunity to enjoy the grandeur of the Vienna State Opera.
(..)
We enjoyed a wonderful opera evening, of which Margarita Gritskova was undoubtedly the highlight. It seems to me necessary that such singers as Margarita Gritskova should be the center of the audience’s attention, because they deserve it. I am sure that such performers are extremely important for attracting the audience, because it is for the love of them that listeners come to the opera.”
Olaf Schnürpel, online merker, 31.10.2021
“Like a chameleon, Amneris remains extremely attractive down to the emotional twilight of the gods and looks great both in the role of a business woman and in the style of ethno-fashion. On stage, she is able to explode like a spoiled child, her attempt to harass her beloved Radames ends in failure. In this role, the former member of the troupe, Margarita Gritskova, captivated the audience with her incredibly charismatic mezzo-soprano, outstanding for rich chest registers and imperious pitch.”
Roland H. Dippel, German Theater Criticism, reviews 31.10.2021
“In this opera production, Margarita Gritskova, who embodied the truly deeply dramatic image of Amneris on stage, surpassed all the other participants. In this role, the Russian singer, performing on the stage of the Vienna Opera, returned to her former theater.”
Roberto Becker, Opern*News, 1.11.2021
Juli 2021 Giuseppe Verdi, Premiere “La Forza del Destino”, [debut in the role of Preziosilla] Operklosterneuburg, Austria
“And then there is the mezzo-soprano Margarita Gritskova, who is outstanding in every respect, who sweeps across the stage as a Preziosilla almost in “Carmen” fashion (a good director’s idea!) And also burns off a fireworks vocal.”
“Kurier” Perer Jarolin , 5.07.2021
“Margarita Gritskova playing the part of Preziosilla has become a real pleasure for the spectators’ eyes and ears. Her powerful and clear mezzo-soprano in all its height has become the evening’s apotheosis.”
“Online Merker” Johannes Marksteiner, 4.07.2021
“How did this musical piece, whose staging had failed at times even in famous theaters, sound in Klosterneuburg? It was just heavenly! Above all, this epithet refers to Margarita Gritskova, whose enchanting power in the role of Preziosilla cannot be called other than the force of nature. With her stunning voice she performs the best “Rataplan” of all that can be
imagined.”
“Wiener Zeitung” Edwin Baumgartner, 6.07.2021
“Margarita Gritskova, a mezzo-soprano singer from Saint Petersburg, has become a real star, who has long since lived and worked in Vienna. She has performed the starring role of Preziosilla and managed to mesmerize the spectators with her posture, dancing and a gorgeous coloratura soprano. When Margarita is conquering the stage, casting different choral groups into shade, the spectators have a keen feeling of what is happening!”
“Online Merker” Sieglinde Pfabigan, 10.07.2021
“Margarita Gritskova in the role of Preziosilla is just marvelous, but the most remarkable thing is the clarity of high notes that she takes.”
“Die Presse” Josef Schmitt
“All the vocal performances are wonderful, but Margarita Gritskova, who has managed to play a perfect Preziosilla, is particularly good.”
“Kronen Zeitung” Florian Krenstetter, 8.07.2021
“Some vocals are simply amazing. Margarita Gritskova, who has played the part of Preziosilla, demonstrates a considerable vitality that adds up a vertiginous counterpoint to resignation to fate dominating her role.”
“Salzburger Nachrichten”,
“Above all things, Margarita Gritskova (playing the part of Preziosilla) was coquettishly tearing up the stage in the style of an unfettered Carmen.”
“DerStandard” Ljubiša Tošic 5.07.2021
“Margarita Gritskova is the ideal performer of the part of Preziosilla, a gipsy girl, Margarita’s appearance and voice is a real delight for spectators.”
“Neues Volksblatt OÖ”, Ingo Rickl
“Undoubtedly, Preziosilla played by Margarita Gritskova, has managed to approach it! Her mezzo-soprano, for which, as it seems, there are neither upper nor lower limits, has allowed Margarita to cope brilliantly with this rather unrewarding role, which had at times brought bad luck to some of her celebrated colleagues, and had sometimes made the spectators feel embarrassed for the performer – bravo! Until now, of all the many performers in “The Force of Destiny” I have seen, there were only three who managed to be irrevocably convincing – Luciana D’Intino, Bruna Baglioni and Kristina Kolar – now there are four of them!”
“Online Merker”, Michael Tanzler, 14.07.2021
CD Dmitri Shostakovich “Songs & Romances Margarita Gritskova and Maria Prince”
«Margarita Gritskova is a mezzo who seems destined for some very great things. I have admired her contributions in two of the lesser known operas by Rossini in recordings which Naxos made from their Rossini in bathroom Wilbad series. With this new CD I have encountered a completely different and more profound side to this wonderful Russian singer.
This is the third release in a series that she has made with pianist Maria Prinz that explores the Russian song repertoire; her Prokofiev CD (review) earned two nominations in our recently published Recordings of the Year. The series has been a happy co-production between Naxos and Bavarian Radio; it is my earnest hope that there will be at least one more future release that examines the songs of Nicolai Rimsky-Korsakov.
This recital contains selections of the song catalogue of Dmitry Shostakovich presented in almost chronological order. Shostakovich was a prodigiously talented composer who was shadowed throughout his career by the overly intense scrutiny of the Soviet authorities because the despotic Josef Stalin hated his music. While Shostakovich endured no end of hardship because of this, it also helped him to produce some of the most bitingly powerful music of the Twentieth Century. In his songs he produced some very remarkably beautiful works that reveal pain, humour, a great deal of sarcasm and sometimes a touching emotional directness.
Ms Gritskova sings this music with a wonderfully rich and mellow tone that is absolutely even. She has a lively soprano-like upper extension which more than once put me in mind of Galina Vishnevskaya during that singer’s youthful prime. Gritskova imbues each song with the requisite light and shade necessary to bring out the inner details of the composer’s writing. I also find that she has a real sense of commitment to the text of each song. In “The Dragonfly and the Ant” she gleefully differentiates the voices of the two insects. In Lermontov’s “Ballad” she finds both the lyric and dramatic sides of this song about a mermaid luring a man to his death, while his “Morning in the Caucasus” is an evocative romance in which she paints the scene for the listener with soft romantic colourings. In his setting of Shakespeare’s “Sonnet No. 66”, she offers some beautiful dark vocal colourings to this song with its barely hidden criticism of the world in which Shostakovich found himself.
Without a doubt my favorite songs on the disc are the deeply haunting Lullaby from the Jewish Folk Poetry cycle, which demonstrates the cruelty of the Czarist and Soviet oppression of the Jews. Then there are two gorgeous Spanish Songs where I particularly liked the lovely Moorish spell that Gritskova weaves in “Farewell, Granada”. Towards the end of the recital, we are treated to the high drama of “Spring Awakening”, which she manages with real gusto, and the deeply biting irony of “Preface to the Complete Edition of my Works and a brief Reflection Apropos this Preface”. This song especially shows Shostakovich at his most acerbically critical, as the singer recites all of the different empty sounding titles, and positions assigned to him within the Communist Party, which he was publicly coerced into joining in 1960. Throughout the disc, pianist Maria Prinz provides a fine carpet of sound on which the singer builds her interpretations. After three recital discs together Gritskova and Prince seem to be achieving a really good working relationship. The CD is captured in excellent sound, and mercifully Naxos has given us the English translations of these Russian songs, which helps to make this disc a true pleasure to spend an hour with.»
Mike Parr
MusicWeb International, 31.1.2021
«On this CD Margarita Gritskova sings a selection of Dmitri Shostakovich’s songs. She does it largely chronologically and begins her programme with one of the Krylov-Fables op. 4 and two Romances on texts by Japanese poets. Both cycles were written before the humiliation of the composer in the context of the opera Lady Macbeth from Mtsensk.
After 1936, as Dorothea Redepenning has pointed out, Shostakovich’s songs are quite simple in their musical language and completely focussing on the text. He also always turned to song only when he was in a particularly difficult situation, which was true throughout his life, until the Michelangelo songs, which he wrote at a time when he thought a lot about death.
Margarita Gritskova sings all 20 songs of this programme with the greatest sensitivity. Her performances are ideally declamatory and full of atmosphere. It becomes clear what an amazing variety of expression and moods the composer was able to achieve, often with the simplest musical means. Gritskova’s wide-ranging, excellently focused mezzo voice has impeccable rhythmic control, which not only gives her singing a great richness of nuances and colours, but also allows her to closely link with Maria Prinz’ excellent piano playing.
So if you want to get a good overview of Shostakovich’s song compositions and maybe feel like listening to more, this CD is an excellent choice.»
Remy Franck
Pizzicato, October 2020
«What I said about Margarita Gritskova in my “Russian Tribute” column (Summer, 2019) goes double in this new release of Songs and Romances by Dmitri Shostakovich, especially that her interpretive skills revealed “a keen intelligence at work engaging with poetry of real literary substance
In contrast to the earlier CD program, the poetic texts that inspired Dmitri Shostakovich are all over the board, in quality as well as mood. We begin with The Dragonfly and the Ant from 3 Fables by Ivan Krylov, a retelling of Aesop‟s tale of the grasshopper and the ant with a distinctly Russian piquany. “So then you,” rebukes the Ant, “Without a thought sang away the entire summer. That‟s fine business. Go on then – dance now!”
There follow 2 romances by Japanese poets in Russian translation: Before the Suicide, the song of a heart heavy laden, and For the First and Last Time, a song of sorrowful regret for a lost love in which Gritskova uses her expressive voice to good effect.
Two Romances on verses by Mikhail Lermontov are Ballad, in which a maiden cajoles her naïve lover into diving into the depths of the sea to recover her lost necklace –with a musical depiction of the restlessness and turmoil of the sea as a correlative for the human passions– and Morning in the Caucasus, with its evocation of a break of dawn setting where a young man encounters maidens bathing in the shadows. What will follow next? The poet asks, “how can they flee if the sweet thief is so very near?”
The expressive ranges Gritskova and Prinz encompass so well in the Lermontov poems continue in two poems by Marina Tsvetayeva. In “Whence comes such tendrness?” we hear the thoughts of a woman who is uncertain as to whether to trust a new love: “These are not the first curls that I have caressed, and I have known lips darker than thine.” And “No, the drum was beating” captures ambivalence in a young soldier as to whether to hurl himself into the fray, in words that conceal Shostakovich‟s own feelings at being rejected by Soviet officialdom. Rebirth, after Alexander Pushkin, provides the consoling thought that even the thickest coat of black paint will not hide forever the beauty of an underlying painting.
There follow two Romances on Verses by British Poets, including William Shakespeare‟s lesser-known Sonnet 66, “Tired with all these, for restful death I cry,” with its unmistakable note of bitterness and world-weariness that must have meant something to Shostakovich to have even chosen to set it. Two Verses from Jewish folk Poetry include a tender Lullaby and a Warning to young girls not to go strolling before dawn. Then we have 2 Greek Songs, including Pentosalis, the bitter reflection of a youth disappointed in love, and Zolongo, the defiant song of women who are determined to kill themselves rather than accept slavery.
Following two traditional Spanish folk songs, Farewell Granada and Little Stars, we conclude with a pair of bitter, wickedly satirical verses by Sascha Tschorny, which I will leave you to discover for yourselves.»
Phil Muse
Audio Video Club of Atlanta, November 2020
27 JUNE 2020 GALAKONZERT DES JUNGEN ENSEMBLES (2010-2020) VIENNA STATE OPERA, AUSTRIA
GALA CONCERT OF THE YOUNG ENSEMBLE
Vienna State Opera
Comedic and very funny duet "Al capricci" from Rossini’s L’italiana in Algeri continues this concert..
Margarita Gritskova and Orhan Yildiz, despite their youthfulness, are pronounced sings-actors and perfectly attuned to each other.
Manfred A. Schmid, 28.6.2020, online merker
12 JUNE 2020 Concert "UNA FURTIVA LAGRIMA" - Ensemble members sing excerpts from bel canto operas VIENNA STATE OPERA, AUSTRIA
CONCERT «UNA FURTIVA LAGRIMA», Vienna state oper
«Margarita Gritskova has become – and not only - the ideal Rossini interpreter at Haus am Ring. Virtuoso, phenomenal height, full depth ranges, flexible voice with
with a lot of penetrating power – her mezzo fills the whole auditorium at "Non più mesta", hearts fly to her and she sends kisses back to the enthusiastic publicum.»
Susanne Lukas, 12.6.2020, Online merker
G.ROSSINI “LA CENERENTOLA” [ANGELINA], 18, 22, 25 JANUARY 2020, VIENNA STATE OPERA, AUSTRIA
«Without any doubt, Cinderella (Angelina) is a major focus of interest. Margarita Gritskova is an outstandingly harmonious performer of this primary aria. In the role of Angelina, this mezzo-soprano singer, native of Saint Petersburg, whom the Viennese audience is always glad to see and to listen to, draws attention to the character’s humble and patient nature. Even at the moment of her greatest triumph, during the wedding with her prince charming, she does not lose her modesty and is unable to betray herself. Angelina, wiping the dust from the prompt box on her knees in a white wedding dress, creates both touching and comical impressions. It’s impossible not to fall in love with this sincere Angelina, all the more so Gritskova’s voice meets all the expectations of the audience, and she masters complex coloraturas in high and low registers at the highest level.»
19.01.2020, Manfred A. Schmid, „Online merker“
«Cinderella performed by Margarita Gritskova is a mature voice that is impeccable in performing coloraturas, it is magnificent in a high register and keeps its magnificence in a low register.»
25.01.2020 Wilhelm Sinkovicz, „Die presse“
JACQUES OFFENBACH, Premiere «LES CONTES D’HOFFMANN», [debut in the role of MUSE, NICKLAUS] 6, 13, 16, 19, 23, 25, 27, 31 JULI 2, 4 AUGUST 2019, KLOSTERNEUBURG, AUSTRIA
“The Muse/Niclausse was superb – with no ifs and buts; Margarita Gritskova had to sing much more than usual in the refined version. She shines with top and bottom notes, radiates charm – this is a true gift!”
Peter Dusek, online Merker
“Was it a fortune or an intention that the five-act version of Fritz Oeser was chosen as the basis for new creation? In this exposition, the role of Nicklausse looks much more significant that provided Margarita Gritskova with the opportunity to shine not only in a masterful middle and lower register, but also in magnificent top notes, as well as to show a dramatic acting in her debut performance of this role.”
Josef Schmitt, Die Presse
“We want to put the crowns of this evening on the heads of two ladies: Daniela Fally, coloratura soprano, and Margarita Gritskova, mezzo soprano. While the latter, in the role of the Muse or Nicklausse, constantly gives strength to down-hearted Hoffmann with her deep, rich voice; and Daniela Fally reaches high mastery, probably, in the most spectacular scene of the opera – The Doll Song, Olympia’s Aria.”
Ingo Rickl, Volksblatt
G. ROSSINI "IL BARBIERE DI SIVIGLIA" [ROSINA], 18, 21 MAY 2019, VIENNA STATE OPERA, AUSTRIA
«It seems like “The Barber of Seville” by Rossini, given on the stage of the Vienna State Opera on the occasion of its 150th anniversary, must’ve become the proof that the troupe’s members and the world celebrities are able to match each other. If this intention meant the answer to the question whether the voice of one of the troupe’s members could compare with the elegance of coloraturas of the best tenor of modern times, then last Saturday Margarita gave the answer to it.
Not only in duet with Juan Diego Flórez, her aria of Rosina deserves to be streamed directly on the internet all across the world tomorrow. This love couple meets all vocal and comedy preconditions that are capable to turn the evening in the opera house into an extremely amusing event.
(…) This Count Almaviva found himself a worthy countess in coquettish, sly and ardent Rosina presented on the stage by Margarita Gritskova who showed incredible flexibility in all registers of her melodious mezzo-soprano. The fact that she is a member of the theatre’s troupe is a true gift for the anniversary, which the State Opera has managed to present to itself and its audience».
V. Sinkovich, DiePresse
CD «RUSSIAN SONGS. MARGARITA GRITSKOVA AND MARIA PRINZ»
«Die Presse» 17 April 2019
The various, wonderful rich colors of melancholy
Margarita Gritskova and Maria Prinz break a lance for the art of songs of Russian master composers
For sure, the very last work on this CD belongs to the rejoicing to high heaven late romantic songs: the voice rises exulting to the high B flat to praise the arrival of spring. Margarita Gritskova doesn’t have to swing out too often in high soprano regions and uses the opportunities to savor the dark glowing qualities of her mezzo. The young Russian singer, an acclaimed member of the ensemble of Vienna State Opera, where she will sing soon Rosina in “ Barbiere di Sivilla” alongside Juan Diego Florez, recorded, together with Maria Prinz songs, mostly not about the approaching spring.
Tchaikivsky, Rachmaninov (he composed mentioned “Wells of spring”) and Rimsky Korsakov set in music rather all nuances of melancholy and sadness of the Russian soul.
The more than one hour lasting exploration of this landscape of the Russian soul is never monotonous, on the contrary- it fascinates with all the blaze of colors of a rich, fresh voice.
It is also fascinating to study the differences of approach of the three composers. Their “handwritings” are clearly detectable.
Rimski Korsakov for example uses a less artificial and refined, more folk song inspired musical language, which Margarita Gritskova and her sensitive pianist Maria Prinz meet with the appropriate intimacy of expression.
The fact that Maria Prinz is not afraid of the sound cascades of the master pianist Rachmaninov, upgrades this new release even more.
Wilhelm Sincovicz
W.A.MOZART “LA FINTA GIARDINIERA” [DEBUT IN THE ROLE AS RAMIRO], 17, 20, 24 FEBRUARY, 1, 6, 8 MARCH 2019, THE OPERA HOUSE IN ZURICH, SWITZERLAND
«Playful Margarita Gritskova not only shows maximum performing skills on the stage, but also demonstrates excellent dramatic flair and perfect legato combined with deep mezzo-soprano.»
Oliver Schneider, DrehPunktKultur
«Another stage and performing debut deserves a special mention: MARGARITA GRITSKOVA in trouser role of Ramiro. The young singer deeply impressed the audience with her gorgeous mezzo-soprano. It really was an extremely impressive performance.»
Marco Stücklin, Das Opernmagazin
G. ROSSINI "IL BARBIERE DI SIVIGLIA" (ROSINA), 1, 4 OCTOBER 2018, VIENNA STATE OPERA, AUSTRIA
The masterpiece of Gioachino Rossini in any event conveyed the "lightness of being" that is especially true for his Buffo operas. However, the main prerequisite is performers who meet the vocal requirements. For example, performers such as the Russian mezzo-soprano Margarita Gritskova, who was born in St. Petersburg and can be reputed as a real discovery of Dominique Meyer. She is constantly improving; the upper register of her voice gets more and more intense and it has more strength in middle and lower section of the vocal range. Coloratura sparkles like pearls. And the acting talent of an attractive singer has always been obvious!
Peter Dusek, Online merker
«Christmas comes but once a year», the old worldly wisdom says. At the Opera house, this doesn’t always have to happen exactly on a public holiday – the day of the premiere. On the contrary, the expectations raised in the run-up to the event are often higher than what you actually meet and the following disappointment is great.
In addition, this is another life experience: the value of an opera house is shown above all in the way it presents itself in the everyday life of the repertoire. And the Vienna State Opera is usually quite well positioned, as can be confirmed now by the small performance series of Rossini’s The Barber of Seville. The Basis for this is a solid and well-kept Ensemble, which raises future Stars again and again - as it is probably expected at present with the famous Gritskova.
As Rosina, Margarita Gritskova shows a great example of Rossini’s Belcanto art, with wonderfully sparkling coloratura runs and graceful sequences complemented by a subtle sense of playful moments in her performances, which she virtuously masters.
Manfred A. Schmid, Online merker
PREMIERE: MOZART «LA CLEMENZA DI TITO» (SESTO), JUNE 2018, THE PALACE OF ARTS OF QUEEN SOFIA, SPAIN, VALENCIA
«..Among them, Margarita Gritskova from Saint Petersburg as Sesto showed her artistic temperament, nature, and magnifical mezzo, having become the star of this wonderful opera night. After well-known aria Parto parto the clemency of Titus becomes clear: he got emotional and forgave his friend (and the others as well) toughed as a man and as an emperor by airy singing, vocal agility, melodious expression, beauty and artistry a la Berganza, which Gritskova presented to us through unique Mozart’s gift.»
BeckMesser.com, Justo Romero, 26 de Juno de 2018
«..Margarita Gritskova, Russian mezzo as marvelous Sesto, became the winner of the night. Note this name! She is wonderful and gives us a chance to speak about her soon. Just a little pearl.»
UnaNocheEnLaOpera
G.ROSSINI «THE BARBER OF SEVILLE» (ROSINA), VIENNA STATE OPERA, FEBRUARY 2018
«..The role of his beloved Rosina is one of the best roles of Margarita Gritskova: playing her, the singer could combine fabulous acting skills, wonderful singing, and stunning appearance. So, a playgoer should get comfortable and enjoy all the above mentioned.»
Elena Habermann, online merker
J.BIZET "CARMEN" (CARMEN), JANUARY 2018, VIENNA STATE OPERA, VIENNA, AUSTRIA
“..Margarita Gritskova may boast that she wasn’t overshadowed by the superstar. It could be quite expected that her “Carmencita” in first two acts will create a furor: having sung Habanera, Seguidilla and, first of all, “Chanson Bohéme” she served them to the audience like “voice-decoy”, complementing a visual impression made by mezzo-soprano of the singer from Saint Petersburg. But how would the scene of cartomancy be performed by her, how would her voice sound in the final scene? Well, I found myself surprised by that voice-potential, which I heard in the second part of “Carmen”. Anyway the singer will have a distinguished international career”.
Peter Dusek, online merker
“..That’s exactly what is happening: Margarita Gritskova, representing a vamp from hair to spike heels, is amazingly seductive. It’s a remarkable debut!”
Wiener Zeitung, 24.01.2018
“..Carmen is a character that shall also catch the audience’s eyes, and Margarita Gritskova obviously does cope with it perfectly. With no complicated movements, she shows the fullness of her sensuality, legerity, and also ability to be convincing, that could be expected from a person convincing Don José. She will be the only winner; and with the first scores Gritskova, supported by a wide and powerful accompaniment, manages to lead him confidently, like real leaders do.”
Esteban Hernanández, Platea Magazine, 01.Febrero 2018
PREMIERE: G.ROSSINI «LE COMTE ORY» (ISOLIER), KLOSTERNEUBURG, AUSTRIA, JULY-AUGUST 2017
«..Margarita Gritskova as Page Isolier shows once again that she is one of the most important discoveries of Dominique Meyer. Her rich, dulcimer voice bravely copes with all the difficulties of the vocal score, the pitch of her voice is irreproachable, and the depth remains immaculate.»
Peter Dusek, online merker
«.. Margarita Gritskova as Page Isolier is just stunning. And her voice seems to be created for the role of Isolier, Margarita said to be born to play it, her slight and simultaneously dulcimer mezzo-soprano sounds unbreakable in all ranges. She impersonated this role with her natural charm and humour, and managed to make a joke about the master, this affectionate fine fellow. »
Helena Habermann, online merker
«…Margarita Gritskova as Page Isolier is simply brilliant!..»
Der Standart.at , 10.7.2017
«…Margarita Gritskova appeared on the stage as the travesti Page Isolier, became another one favorite of the Vienna State Opera audience. The young Russian soloist impressed the audience with an enormous vocal range, deep sound in the low ranges, but also with sharp mezzo coloratura.»
Die Presse, Print-Ausgabe, 10.07.2017
G.ROSSINI «L’ITALIANA IN ALGERI» (ISABELLA) VIENNA STATE OPERA, APRIL 2017
«..Very graceful Italian with extraordinary marvelous voice by Margarita Gritskova, a Russian singer born in 1987. The deepest high pitched voice with impressive flexibility. Such vocal is positively far from ordinary: it seems to be cut out specially for Rossini, but actually – thanks to good acting skills – it can sing about everything, not only perform Travesti roles. It is a great pleasure to hear young voice of such strength and technique: she always stays focused, perfect modulations come one after another, her bearing stays correct, vocal is beautiful and clean, showing the highest school.»
OperaeOpera, 10/04/2017
G.ROSSINI "THE BARBER OF SEVILLE" (ROSINA), VIENNA STATE OPERA, DECEMBER 2016
"..Rosina by Margarita Gritskova becomes every time better. Profound depth and pearly coloraturas, as well as overwhelming joy of performance, make her, without any doubt, one of the best performers of this role."
Elena Habermann, Online Merker
W.A.MOZART «THE MARRIAGE OF FIGARO» (CHERUBINO), SALZBURG, AUGUST 2016
«..The showing of Cherubino with piercing vocals was sensational in every respect. This role in its entirety energetic, with a mischievous musicality, full of passion for a woman - a sort of Don Juan in his puberty - has been immaculately presented by Margarita Gritskova .»
KF Pichler, Stol.it
PREMIERE: G.ROSSINI «SIGISMUND» (SIGISMUND), BAD WILDBAD, JULY 2016
«..The performance of the opera "Sigismund" in Wildbad with a soloist of the Vienna State Opera Margarita Gritskova in the lead role became triumphant. The Polish king, whose old death sentence to his wife, has almost blew his mind performed by her sounds gentle and compassionate.»
Münsterland Zeitung
«..Die Hauptrolle übernahm Margarita Gritskova, deren Stimme, laut wie ein Sturm in einem gewaltigen Umfang und mit einer solchen Macht und Innigkeit erklang, dass man sich als Zuhörer durchaus eine Vorstellung von Marietta Marcolini machen konnte».
Janos Gardoni, the Whole Note
«..As a Mecca of bel canto, Wildbad prepares and draws the real masters. At all gigs the viewers were surprised with an amazing and sometimes phenomenal execution, such as stunning expressive Margarita Gritskova as the king Sigismund.»
Frankfurter Rundschau
«..King Sigismund presented on stage by Margarita Gritskova, a member of the State Opera troupe, and which the viewers will be able to see again since August 16 as Cherubino in Mozart’s opera" The Marriage of Figaro" in Salzburg, of course was the culmination of a musical performance. Once again we were able to verify how wide the voice range of young Russian singer is and, above all, how meaningful is the depth of her voice. She knows how to win the listener’s with the flexibility of her voice, which she can restrain at the right moment and subdue him with the purest coloraturas.»
Oliver Schneider, Wiener Zeitung, 31.07
«..The role of the king sang the young Russian singer Margarita Gritskova that showed to the public all the splendor of her voice. She and her mezzo-soprano, affecting by passion on the high notes, and sounding like a bell in its depths, plays led roles of the Vienna State Opera troupe today.»
Badische Zeitung
W.A.MOZART «LA CLEMENZA DI TITO» (SESTO), VIENNA STATE OPERA, APRIL 2016
«..Pay your attention to this name: Margarita Gritskova. Her performance of the part of Sesto from the opera "La Clemenza di Tito" had a superb style, expressiveness and grace, which is very characteristic to the works of Mozart’s.»
Jaume Radigales, 04.10.2016, NUVOL el digital de cultura
«..For the most part, the singers were undistinguished with the exception of young Russian mezzo Margarita Gritskova as Sesto who displayed not only admirable dramatic insight into this most complex of characters but was vocally mellifluous and even-toned in all registers. The octave-plus leaps in “Deh, per questo istante solo” were steely accurate and there was really beautiful word colouring on “questo cor”. A rock-solid top G natural and excellent chest notes all made for an exemplary performance of this important partia.»
bachtrack.com, Sutherland, 31 marzo 2016
PREMIERE: P.EÖTVÖS «THREE SISTERS» (MASHA), VIENNA STATE OPERA, MARCH 2016
«..Masha, by Margarita Gritskova, appears as a true femme fatale, who is trying to escape from captivity, but fails, her great mezzo does not lose its richness and expressiveness even at the deepest depths.»
Die Presse, print edition, 08.03.2016
G.ROSSINI «CINDERELLA» (ANGELINA), VIENNA STATE OPERA, SEPTEMBER 2015
«..As for beauty of the voice and coloraturas agility, this evening only Margarita Gritskova could outshine him. As Cinderella, she captivates the audience, not only by her appearance but also by the voice modulations. First of all, she is remembered for her ability to give an incredible musical expressiveness to various Rossini’s phrases, no matter whether she is singing a sad song of a poor servant or expresses the euphoria felt by a young woman who has recently fallen in love. (..) The final scene performed by Gritskova crowns the colorful bustle by stunning coloraturas and exquisitely modeled musical phrases. Cinderella turns into a princess.»
Wilhelm Sinkovitz, "Die Presse", 18.09.2015.
«..The main character is played by the rising star Margarita Gritskova, who has become perhaps the most important discovery of the era of Dominique Meyer. Her voice grew stronger, gained more "thoracic sounds", and high notes have metal sound. Also sparkling coloraturas, followed by ornamental techniques, and delightful passages. In short, in this role Margarita Gritskova, who has been part of the troupe of the State Opera since 2012, in no way inferior to her predecessors such as the Christa Ludwig, Agnes Baltsa, and Elina Garanca.
Name of Margarita Gritskova should be remembered!»
Peter Dusek, Online Merker, September 2015.
PREMIERE: W.A.MOZART «THE MARRIAGE OF FIGARO» (CHERUBINO), SALZBURG, JULY 2015
«..The show-stealer was Russian mezzo-soprano Margarita Gritskova, who gave her Salzburg debut in the role of Cherubino. Salzburg has a tradition of discovering and launching young talent that then turn into stars (e.g. Anna Netrebko and Nino Machaidze), and Gritskova will certainly go on to a great career. Possessing a strong and dark voice, the young Russian convinced not only on account of her impeccable technique, diction and control, but also thanks to her disarmingly charming stage presence. Her Cherubino was equally attractive as a boy or as a girl: believable, entertaining and delighting.»
Philip Eisenbeiss, Interlude, 21 August 2015
«..Cherubino performed by Margarita Gritskova is awesome. A very attractive “youth” enchants with iridescence of the voice which the singer uses with extremely high professionalism. Among the variety of opera singers her arias looks like rare diamonds».
Friedeon Rosen, Online Merker, 18.08.2015
«..Margarita Gritskova sang a lovely Cherubino with a quite beautiful voice and a very warm clear timbre. Also her acting was lovely and made her portrayal really convincing. Her voice has such seamless transitions that everything she sings just sounds wonderful.»
Daniel Url, The operatic musicologist, 17 August 2015
«..It is only Margarita Gritskova as Cherubino who attracts with the color of her voice which is full of youth».
Zeit Online, August 7, 2015
«..If we were to choose the most impressive scene or singer, we would name the scenes featuring Cherubino which had been so geniously performed and had united magnificent voice capturing with their accuracy and incredible beauty.»
Pagewitzz, August 2015
CONCERT WITH JOSE CARRERAS, LINZ, MARCH 2015
«..Concert was a spectacular event due to Gritskova. " (..) At the concert, Carreras decided to sing with Russian mezzo-soprano Margarita Gritskova. The fact that the evening turned into the spectacular event was also her merit. Since the 2012/13 season, Ttwenty-seven-years-old Russian singer is a soloist of the Vienna State Opera, she made her debut in the summer at the Salzburg Festival as Cherubino in "The Marriage of Figaro" by Mozart. The volubility with which Gritskova performed the Brucknerhaus "Canción de Paloma" in front of the audience has been truly remarkable.»
Nachrichten.at , Linzer Brucknerhaus, 27. März.
G.ROSSINI «THE BARBER OF SEVILLE» (ROSINA), VIENNA STATE OPERA, MARCH 2015
«..Of cause, there’s no weak link in the cast, but Margarita Gritskova was undeniable star of the night. Vocally stainless at the full of her range, she sings with a piano’s accuracy. She is well known to the Viennese audience from the moment she joined the Vienna State Opera in 2012, and is obviously adored.»
Dmitri Finker, The Classical Music Network
G.ROSSINI «THE BARBER OF SEVILLE» (ROSINA), VIENNA STATE OPERA, NOVEMBER 2014
«..The highlight of the cast is Margarita Gritskova, who already belongs to the ensemble for two years; she became a public darling and justified with her wonderful vocal achievement. From the broad vocal range up to the pretty coloratura, she pays the role back in her own coin and in addition she is an indefatigable actress, who has all the threads of this tumultuous comedy in her hand.»
Wolfgang Habermann, Neue Merker, November 2014
PREMIERE: W.A.MOZART «IDOMENEO» (IDAMANTE), VIENNA STATE OPERA, OCTOBER 2014
«..Margarita Gritskova received surely the most of the final applause in her travesty role of Idamante. She was the only one who had the vocal charisma which would be no doubt expected from a Mozart-premiere at the opera house („Das Haus am Ring“)»
Kleine Zeitung, October 2014
«..Margarita Gritskova was vocally in her travesty role of Idamante way out in front of the ladies.»
KURIER, October 2014
«..Margarita Gritskova succeeds in creating the role of Idamante vocally, even if she wears pants. Gritskova – for her there was the most applause at the premiere– grew not only for the low challenges in her role of Idamante.»
Peter Jarolin, KURIER, October 2014
«..At the center is the young Russian Margarita Gritskova in the role of the king’s son Idamante. She persuades us in her „Non ho colpa“ with her resonant, dark timbered mezzo-soprano and enchanting registers.»
Oliver Sehneider, Dreh Punkt Kultur, October 2014