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“…She sung with beautiful, brilliant soprano voice through the whole evening, painting every phrase gracefully with her secure technique.”
“Kolonits sang equally wonderfully the lyrical parts, coloraturas were soft and spiritful, trills were ringing – she expressed also musically the change in the character that happens between 2nd and 3rd act: when Gilda transforms from a little terrorized girl in a cage to a dramatic heroine, who fighting for her love is also willing to sacrifice herself.”

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see all pictures: Rigoletto 2014

reviews

“Gilda role is fits Klára Kolonits wonderfully. She sung with beautiful, brilliant soprano voice through the whole evening, painting every phrase gracefully with her secure technique. The character of Gilda was present in every single note of her singing.”

11th May 2015, prae.hu Zoltán Péter 

“Budapest opera lovers were waiting for Rigoletto production from Miskolc because of Klára Kolonits’ Gilda, and it’s absolutely understandable. Kolonits did no less than to rehabilitate the role with great power after all those skinny, voice- and bloodless little girls, who were singing it during the last twenty years here and abroad. Sincs Márta Szűcs I did not hear this part performed at such a level, at last I heard Gilda throughout the whole opera, in the dramatic scenes as well and not only in the first act. Kolonits sang equally wonderfully the lyrical parts, coloraturas were soft and spiritful, trills were ringing – she expressed also musically the change in the character that happens between 2nd and 3rd act: when Gilda transforms from a little terrorized girl in a cage to a dramatic heroine, who fighting for her love is also willing to sacrifice herself.”

6th May 2015, momus.hu, ppp

“I won’t try to sell a pig in a poke: an absolute laudation for Klára Kolonits follows. She outshined the whole performance to such an extent, that for me this opera told only Gilda’s story. It’s not easy to act like this but we simply believe Klára Kolonits, that such a person truly exists, who is just inherently good and keeps loving even when she’s sure about being used. She’s not willing to revenge. But we do not wonder either, that for her the best solution is to die in the world, that is not fitting her at all – and in addition, to die a “useful” death, saving her love. The strongest part of the performance were Klára Kolonits’ arias, but she brought up the partners in duets as well, also the Duke was at his best, singing with her. The singer has been awarded again, as on every Hunyadi László spectacle, with a rare gift from the Erkel Theatre public – that is, with applause so long and strong that she simply cannot leave the stage.”

25th April 2015, mezeinezo.blog.hu, Zsuzsanna Makk