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“Her Elvira is not only exceptional artistic experience but also an imperative to all the directors of music theatres: here you have a singer whom you can, or better you must build repertoire on.”
“The interpretation of Kolonits is so essential, that I have to mention it. In the second act, in the two-parts mad scene the palette of her voice becomes dark and sad. This is rather natural in the first part, but which is even more interesting, that in the fast section it didn’t brighten up either, showing that the joy is only superficial and in the soul’s depths the darkness is still present. In the third act, the resolution comes – one may have guessed it, but even then it has a huge impact. When Arturo says that he loves her and offers his hand to her -Vieni, vieni! – the light of true happiness, a real sunshine illuminates the voice of Kolonits. Not even mentioning the wonderful high Ds in which together with Demuro they expressed the infinity of their joy. With her voice and with her singing, Kolonits reveals the deepest secrets of bel canto, focuses the attention on her rare gifts, shows the particular interpretation possibilities lying within the style.”

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reviews

“In the role of Elvira the great soprano of Hungarian Opera House, Klára Kolonits, was able to show the whole richness of her skills and radiating beauty of her voice. Kolonits, who recently issued also a bel canto cd, interpreted Elvira with incredible dramatic expression and power both vocally and as an actress, and in the same time the lyrical subtleties of bel canto sounded perfectly as well, the artist was in the top form.

What made the Elvira of Klára Kolonits a complete catharsis was the rich cavalcade of emotions both in music and on stage, and the effect was vividly applauded and bravo-ed by the audience.

6th June 2017, Attila Kovács, koncertvisszhang

“Klára Kolonits concentrated mainly on exploring the depths of the soul of this complex figure (at the same time Elvira and the pupil of Callas). Her Elvira is fluctuating between the extremes, she experiences everything with incredible intensity: both her abandonment and her love, madness and soaring happiness. The rich personality shines through the perfection of her vocal production. The virtuosity is for her nothing more than a tool that she uses to unfold the drama. There is only one word that can describe her stage presence and acting: radiating. The spectator remains stunned at the fact, that it’s not an interpretation of a signature role that matured for years.”

27th May 2017, Tóth Antal, momus.hu

“The interpretation of Kolonits is so essential, that I have to mention it. She’s very feminine onstage, so that the role of love becomes more accentuated. And from her interpretation we can see clearly, that Elvira grows up as the story goes. In the first act she’s playful and defiant in a little girl’s way. In the second, in the two-parts mad scene the palette of her voice becomes dark and sad. This is rather natural in the first part, but which is even more interesting, that in the fast section it didn’t brighten up either, showing that the joy is only superficial and in the soul’s depths the darkness is still present. In the coloraturas she marks the madness with bold, unusual, almost dissonant intervals. In the third act, the resolution comes – one may have guessed it, but even then it has a huge impact. When Arturo says that he loves her and offers his hand to her –Vieni, vieni! – the light of true happiness, a real sunshine illuminates the voice of Kolonits. Not even mentioning the wonderful high Ds in which together with Demuro they expressed the infinity of their joy. With her voice and with her singing, Kolonits reveals the deepest secrets of bel canto, focuses the attention on her rare gifts, shows the particular interpretation possibilities lying within the style. The singer’s warm voice and humanity makes more intensive relationships within the characters possible. The open nature of Kolonits gives more accentuated role to Popova-Callas as well, who becomes an alter ego for Elvira, her soul’s another half.”

26th May 2017, Márok Tamás, tiszatajonline.hu

“Klára Kolonits casts a spell: she makes the constant going mad, then back to normal, then again mad – believable, understandable. Partially because of sublime realisation of surreal vocal runs, partially because of her performance suggestiveness. Her way of singing seems endlessly natural, so that we accept that the message she carries is such as well – and even in the back of our heads we do not want to question the story or examine with realist point of views such things, that simply remain unseen by it. Already recently issued CD made clear that Klára Kolonits is at her absolute top and finally found her true repertoire. Her Elvira is not only exceptional artistic experience but also an imperative to all the directors of music theatres: here you have a singer whom you can, or better you must build repertoire on.”

21st August 2015, Gábor Bóka, operavilág.net, 

“If Klára Kolonits had been born 180 years earlier, Bellini would have written a couple of main roles for her voice. She is simply shining, smiling goes through breakneck coloraturas, melodies, runs, long-held high notes and so strikingly naturally serves the music and the character. It is simply radiating out of her face, how happy is she to sing this piece. Well if we have such a Bellini-soprano it is worthy to go crazy twice during one evening! For her and because of her.”

15th August 2015, Tamás Márok, tiszatajonline.hu,