2018 Hatszín Teátrum Budapest (→ 2019) OperaLab
MD: Dinyés Dániel, Stage: Göttinger Pál

2018 MüPa Budapest OperaLab
MD: Dinyés Dániel, Stage: Göttinger Pál

2012 Schloss Kirchstetten Festival
MD Homaan Khalatbari, Stage: Némedi Csaba

2004 Magyar Állami Operaház (⟳ 2006, ⟳ 2008)
MD: Vashegy György, Stage: Galgóczy Judit

1995 Magyar Állami Operaház Studio ( ⟳ 1998)
MD: Pfeiffer Gyula, Stage: Ütő Endre



“Klára Kolonits sung the Countess Almaviva’s part, with her usual musical and stage professionalism. Porgi amor was moving to tears and radiating, wonderfully constructed Dove sono received a spontaneous applause-hurricane. In her acting a one could see a mature woman and playful young Rosina put together, spiced with a lot of humour. Listening to Kolonits’ singing I thought more than once about what I heard and read many times: if someone can sing Mozart well, it is balsam for the throat. That is how Klára Kolonits sings the Countess.”

August 27th 2012,, zsoly

“The ensemble was full of beautiful voices and joy of playing: for instance, Klára Kolonits in the role of suffering, dramatic Countess d’Almaviva.”

August 2012, Niederösterreich Nachrichten

“The Countess of Klára Kolonits is in a word amazing. She has sung a lot of Mozart roles (don’t forget her jump-in to Ascanio in Alba or – recently – Donna Anna), but her core repertoire at the moment are virtuoso dramatic coloratura roles. It was a joy to hear her again in one of earlier successful roles, as she was singing in her musical mother tongue. Both arias were wonderful, full of emotions. She fulfilled all the staging peculiarities as well, the flesh and blood side of the character was underlined and not a pathetic, mannerical silhouette. The Countess does not stand way beyond the others in the social hierarchy, the accent is put on the woman’s role and destiny, which is probably more important in the today’s world. Kolonits not only sang Countess this year, but also presented herself successfully as Lieder singer, giving a Liszt-Liederabend accompanied by Dániel Dinyés.”

August 24th 2012,, Ildikó Lehotka


2011 Copenhagen
MD: Fischer Ádám

2010 Magyar Állami Operaház
MD: Fischer Ádám, Stage: Szemerédy Alexandra, Parditka Magdolna



“Kolonits got the role just a couple of days before the premiere and learned it – jumping in she just took in her hands all the story with autoirony, confidence and commitment. She enrichened the role with a tasty pantomime, winning my greatest approval. Her second aria brought the house down, NYT would write if she would have sung it at the MET – she received the most sincere and loud applause of the evening.”

January 2012, Muzsika, Tibor Tallian

“Klára Kolonits saved the premiere with bravery: she learned role of Fauno in a couple of days. You couldn’t tell it during the performance at all, she just mastered the virtuoso part, but was able to bring into life also the figure of Fauno.”

January 3rd 2012, Gábor Bóka

“Applauding Klára Kolonits was simply a must. Role of Fauno is limited to some mute scenes and two arias – but what kind of arias! Their virtuosity is comparable to the Queen of the Night’s ones. Kolonits, jumping in in Fauno’s role did it with ease and amazingly.”

December 20th 2010, Mária Albert

“It was a great and deserved success for Klára Kolonits, who performed two difficult arias with her wonderful voice and really first-league coloraturas. Especially impresive was Del tuo gentil sembiante from the second act.”

December 20th 2010, János Malina

“Frenetic performance of Klára Kolonits pinned everyone to their chairs. After her fantastic Melinda she not only saved the premiere, but also was the most successful performer – and would be anywhere – because of her spotless coloraturas, exceptional timbre, excellent acting and humour.”

December 20th 2010, Ildikó Lehotka

“A special attention should be put on both Fauno’s arias, especially the second one is already foreshadowing Queen of the night with its breathtaking coloratura demands (we could admire them in virtuoso performance of Klára Kolonits). (…) The most spectacular was already mentioned Klára Kolonits in the role of Fauno. Her extraordinary singing technique was enrichened by slightly grotesque stage presence.”

December 2010, Opera Portal, Attila Boros

“I think the Klára Kolonits’ jump-in is one of the most bravurous events of the season. She sings with playful grace both murderously difficult arias.”

December 17th 2010,, Johanna

“The audience applauded Klára Kolonits most, the one who jumped into Fauno role. And she deserved it, performed wittily her ceremony master duties and her virtuoso vocal production was spectacular.”

December 16th 2010, Magyar Narancs

“Klára Kolonits jumped in Fauno role five days before, and still was the most exceptional of all the performers: her stage presence is amusing and creative, her voice absolutely secure, got a special applause for her both coloratura arias.”

December 14th 2010, Eszter Vakulya

“The master of ceremony was Klára Kolonits who a couple of days before learned the Fauno role, saving the premiere. We could appreciate her marvellous coloratura skills in the original version of Bánk Bán – here as well her performance was really huge and deserved success. She was amusing the audience as well with her humour and playfulness.”

December 14th 2010, Károly Fülöp

“Klára Kolonits sung the role of Fauno as a result of a brave jump in – she learned the role and the staging within a couple of days – and you could not feel at all that she was standing out. Winking playfully, with a weird construction on her head she brought all attention to her with her strong and technically perfect soprano.”

December 14th 2010, Zoltán Zsiray Rummer

“Klára Kolonits as Fauno with her two wonderful arias was decisively a well deserved favourite of the premiere evening next to Atala Schöck in the title role.”

December 14th 2010, Harald Lacina


2014 Prague National Opera
MD: Tomáš Netopil, Stage: SKUTR

2013 Katona József Színház Budapest – OperaLab
MD: Dinyés Dániel, Stage: Göttinger Pál

2011 Magyar Állami Operaház (⟳ 2013, ⟳ 2015, ⟳ 2016)
MD: Vashegyi György, Stage: Gianfranco de Bosio

2009 Zagreb National Theatre
MD: Johannes Wildner, Stage: Olivier Tambois

2006 Brno National Theatre
MD: Jan Zbavitel, Stage: Karel Drgac

2005 Gars am Kamp
MD: Ivan Parik, Stage: Karel Drgac

2003 Magyar Állami Operaház ( ⟳ 2005, ⟳ 2009)
MD: Kovács János, Stage: Kesselyák Gergely



“One simply cannot find any mistake in Donna Anna of Klára Kolonits. Actually we got used to the fact that whatever she touches, she performs it exclusively on high level, proving her versatility with new and new wonders. On that evening not only her shining, graceful coloraturas were in the focus, but also the role’s intense dramatism radiated through her voice and stage presence. (…) Donna Anna was just as strong, desperate and at time hysterical, as we expect her to be.”

December 17th 2015,, Kata Kondor

“Another bright point of the evening was excellent Donna Anna of Klara Kolonits. Not only beautiful voice, bell-like and pure coloraturas and powerfully dramatic vocal interpretation of the artist was compelling, but also her fantastic stage performance. She portrayed an emotionally unstable, ready for anything, hysterical noble lady, who actually feels attracted to her uninvited night visitor, but is unable to cross her own borders.”

December 21st 2015, Zoltán Péter

“Klára Kolonits was not only tremendously secure in singing this difficult part, but also passionately and fiercely took part in the Schrott’s play.”

April 25th 2015,, Antal Z. Tóth

“One can easily feel, that Klára Kolonits feels very secure in the role. The second aria was one of the climaxes of the whole evening.”

December 8th 2015,, Zsuzsanna Makk

“Klára Kolonits enrichened the long line of her great productions in the last seasons with the current Donna Anna – it yet again proves her great singing technique and impressive stage presence: her energy inspires the singing partners as well.”

January 2012, Muzsika, Gábor Bóka

“Among the ladies it was surely Klára Kolonits in the role of Donna Anna who delivered an extraordinary production. Her bright, powerful voice sounded wonderfully also in the ensembles. With tiny, but memorable gestures she marked, that Don Giovanni’s “attack” meant more to her, that she is willing to narrate to her fiancé – and that the revenge for her father’s death is equally ardent to the passion awakened in her by the title character.”

January 2012,, Ilona Kovács

“Klára Kolonits contributed yet again to the positive picture of her that we have. Wonderfully, with greath emotional depth she portrayed the noble lady.”

December 2011,, Attila Boros

“We saw Klára Kolonits in the role of Donna Anna, she was singing beautifully with a great musicality; her Non mi dir aria was a bright point of the evening with its precise and virtuoso coloraturas.”

December 2011,, Ildikó Lehotka

“Klára Kolonits’ Anna was gentle and well-balanced, there were beautiful moments in her second act aria.”

November 2011,, Tamás Koltai

“Much was therefore expected of the performers. Best of all was the Donna Anna of Klára Kolonits, who has all the vocal allure, technique and temperament required for this fiendish role. She was focus of the eye and ear every time she was on stage (and knew it!), and she delivered her two big arias with considerable aplomb, particularly ‘Non mi dir’. She also blended well with Don Ottavio.”

April 2008,, Alexander Campbell

“Klára Kolonits is clear and strong Donna Anna.”

July 2005, Judith Schmitzberger

“Klára Kolonits was a passionate Donna Anna with beautiful coloraturas.”

July 2005, Florian Krenstetter


2015 Katona József Színház Budapest ( → 2017) OperaLab
MD: Dinyés Dániel, Stage: Göttinger Pál

2014 Magyar Állami Operaház
MD: Vashegyi György, Stage: Jiri Menzel

2003 Magyar Állami Operaház (⟳ 2006,
⟳ 2007, ⟳ 2008, ⟳ 2018)
MD: Vashegyi György, Stage: Szinetár Miklós

1999 Hilton Szabadtéri Színpad Budapest
MD: Vashegyi György, Stage: Káel Csaba



“The singers formed vocally a well-balanced and well-coordinated ensemble, characterised also by dedicated acting, facial expressions and gestures. Nevertheless, there was a certain gradation. For the ladies, first comes Klára Kolonits as a Fiordiligi with her impeccable soprano.”

February 23rd 2018, Online Merker, Harald Lacina

“Fiordiligi is not a new role for Klára Kolonits, but she was strikingly different than she used to be in the previous productions(…). In a very surprising way she fits into the unusual settings according to the instructions dictated by the stage director (…). In such a rare interpretation even the perfect technique and secure knowledge of the part get overwritten by the expression.”

 June 27th 2016, Antal Z. Tóth

 “Two arias of Klára Kolonits were of different nature, and because of exceptionally suggestive voice and performance style of the singer they became two true key points of the premiere.”

 June 19th 2016,, Zsuzsanna Makk

“Klára Kolonits in Fiordiligi’s arias shows everything that can be found in Mozart’s musical phrases. Her voice is graceful and strong, mature and playful at the same time.”

 November 18th 2014, operavilá, Dániel Mona

“Klára Kolonits in the role of Fiordiligi stands above the other singers, her voice is also contributing to create a full of life and emotions, believable character.”

 November 16th 2014,, Ferenc Hörcher

“Klára Kolonits’ powerful aria was amazing (Come scoglio).”

 November 15th 2014, Zsuzsanna Makk

“Klára Kolonits was singing and acting at her usual high level. For me she was the one who truly presented every possible quality that we may expect from a Mozart singer.”

 January 18th 2008,, Zoltán Megyeri

“Klára Kolonits sung the role of Fiordiligi at her usual high standard. She was the one who expressed best the subtleties of her soul through the Mozart phrases. Klára Kolonits was able to show wonderfully the process, in which Fiordiligi is passing from one love to another, of course with mild doubts on her way.”

 February 25th 2007,, Ildikó Lehotka


2020 Magyar Állami Operaház
2013 Magyar Állami Operaház (⟳ 2014, ⟳ 2015)
MD: Vashegyi György, Stage: Káel Csaba


“One has to put Klára Kolonits‘ Konstanze first: with her beautiful, agile and powerful coloratura soprano she proved once again that her talent is of the world class. Gracefully dealing with the part’s technical difficulties, she didn’t have to focus on singing only: so that she could put a lot of energy in acting as well. She depicted believably the young woman decided to be faithful to her love even for the price of her life.”

February 27th 2014, kuk.btk.ppke.huZoltán Péter

“I’m happy that I bought ticket only for one cast, and I admit that after last year’s Donna Anna I wanted to hear Klára Kolonits in the role of Konstanze. I don’t think anyone can perform it better, more beautifully. Klára Kolonits was singing perfectly and bravurously, her voice is soaring with warmth and brightness in all its registers, her acting and interpretation touching and believable. Dramatic, but well balanced in the overall cheerful tone of the piece. In the prose fragments she is the best as well.”

March 24th 2014,, István Timár



2017 Debrecen Csokonai Theatre
MD: Szabó Sipos Máté, Stage: Rusznyák Gábor

2014 Savonlinna Opera Festival
MD: Otto Kamu, Stage: August Everding

2014 Magyar Állami Operaház
MD: Kocsár Balázs, Rendező: Szinetár Miklós

2013 Landestheater Linz
MD: Daniel Russel Davies, Stage: Amon Miyamoto

2012 Staatsheater Weimar
MD Felix Bender, Stage: Gabriele Rech

2009 Magyar Állami Operaház (→ 2010)
MD: Fischer Ádám

2009 Salzburg, Salzkammergut Mozartfestival

1999 The Netherlands tour
MD: Pál Tamás, Stage: Kovalik Balázs



“Klara Kolonits is experienced soloist, has power in her voice and sings beautifully. She, as the Queen of the night, has a strong fury and her voice, for example in parts with high tones, is bright as the ice.”

July 16th 2014, Riitta-Leena Lempinen-Vesa

“For sure the most memorable interpretation was Klára Kolonits’ Queen of the Night. Self-confidently, with great ease sung all the bravura coloraturas, and with emotional phrasing built up the whole figure also in the meaningless stage production – and all that in a dramatically untouched role, who is simply hanging in the piece.”

May 6th 2014,, Zoltán Péter

“It is a great joy that we can count on an absolute artistic success in the most difficult role of the Queen of the Night: singing of Klára Kolonits reaches the stars. She performs with great ease not only the most critical, virtuoso coloraturas, but also shows with a great effect her belcanto-repertoire skills in the slow part of the first aria. She truly modulates the phrases, and together with musical interpretation comes the theatrical one – Klára Kolonits left alone by the stage director is able to create a fully developed character as well.”

April 24th 2014,, Gábor Bóka

“Klára Kolonits was great in both arias of Queen of the Night, with spotless technique and truly queen-like intonation – in a word, she casted a spell of disarming perfection. What’s more, the technique was never the most important factor. For Klára Kolonits the two most difficult arias of musical literature are no more than personal way of expression – this is a great point where the singer and the role can meet.”

February 18th 2013,, Gábor Bóka

“Klára Kolonits was excellent in the role of Queen of the Night. Her voice expressed a sincere pain of loss, and in the same time the emblematic for the character dark intentions, black tones of power and hysteria resonated brillantly.”

January 6th 2010, Gábor Teimer