videos & more


“… Violetta of Klára Kolonits is of an international class and is hypnotising the audience with soulful, genuine acting and classy, virtuoso musicality with no harsh tones.”
“Klára Kolonits’ Violetta of thousand colours, who even in the moments of delight foreshadows the painful decay, birth and loss of a minute joy, the infinite human tragedy.”

 

more reviews…

 

Sempre libera – May 2016, Debrecen


see all pictures: Traviata 2016


interviev

“I like a lot this Violetta who – instead of suffering through her life – dares to make choices and bear their consequences. In the concept of Nadine, Violetta is a modern woman, true and complex character. Not a two-dimensional figure, but a one that dares to be even nasty on stage. I find that my task is not to show some moral superiority through her, but a flesh-and-blood woman.”

read more…

“The good thing is when the voice is not the goal, but a device, together with appearance, a thought, or a breath. Natural device, just as the fourth wall on stage which does not exist, becuase the audience sits there. Let the voice be one of the elements of the portrayal. Not more, and not less.”

read more…


see all pictures: Traviata 2007


reviews

“Klára Kolonits’ Violetta of thousand colours, who even in the moments of delight foreshadows the painful decay, birth and loss of a minute joy, the infinite human tragedy. This Violetta does not fight with her fate, meekly surrenders herself to each of its blows; as if offering herself as a prey to reconciliate with her past, when she forever renounces Alfredo. The vocal production of Kolonits reminds of the greatest interpreters of the part.”

17th April 2016, momus.hu, Antal Z. Tóth

 “The choice of the title role’s interpreter is a direct hit. Violetta of Klára Kolonits is of an international class and is hypnotising the audience with soulful, genuine acting and classy, virtuoso musicality with no harsh tones. Her soprano matches rare timbre with perfect diction and she builds up the great dramatic moments without any self-concerned narcissistic singing. I liked very much as she enriched the score with silences and pauses, which made the part even more exciting.”

16th April 2016, Hajdú-Bihari Napló

“Klára Kolonits is just as perfect Violetta as we all expected, knowing well her vocal endowments: who could have any doubt about her great interpretation, atomic precision in high register and enchanting coloratura skills? Her wonderful vocal and stage performance was the gem of the whole evening. Just to mention one point: the singer poignantly represents Violetta in the third act, when she is deprived of her beauty and rich hair, and the aria is one of the most breathtaking moments of the evening.”

14th April 2016, opera-vilag.hu, Kata Kondor

“Among the singers, the most complete performance was undoubtedly the one of Klára Kolonits in the title role. The artist completely identified herself emotionally with the figure of the fallen woman, singing through the evening with incredible dramatic power and impeccable technique. Nowadays it is very rare to hear an interpretation Violetta with such dynamical shading, miraculously beautiful pianos and such a moving, tense dramatic climaxes even worldwide. Kolonits performed every section of this difficult part, the lyrical and dramatic moments as well, with equal intensity and without a slightest fault. After two fantastic acts we could suppose that nothing can surpass such a wonder, but the heart-wrenching, hopeless third act took it all. I think it won’t be too much to say that Klára Kolonits with her Violetta was the climax of this year’s season..”

14th April 2016, melpomene.blog.hu, Zoltán Péter

“Klára Kolonits in the title role exceeds even herself, and by far. Panoplied by her technical excellence, she impersonated painfully tough, but very human and lovable Violetta, driving the audience back into the seats (…). Her musical interpretation developed as well since the earlier – and already exceptionally good – Violetta performances. She dared to tear apart the “E strano…” verses as introspective and puzzled thoughts, which was a perfect opposition to the cathartic fervour of Sempre libera. In the second act the beginning of „Ah! Dite alla giovane” was so incredibly soft and slow that the power and tension of consecutive crescendo was utterly striking. With the third act however she shall be crowned for the first place interpretation in the opera acting nationwide – if only such a category existed. (…)”

4th April 2016, momus.hu, Antal Z. Tóth

see all pictures: Traviata 2006

“Klára Kolonits made a compelling Violetta in Budapest.”

4th December 2013, huffingtonpost.com, Simon Hewitt

“Already in the first moment she brought all eyes onto herself with seducing gestures and spicy smile: she was simply living the role. I would not say that only Alfredo got fell in love. Her interpretation is great in the second act as well, she timidly smiles at Germont, still hoping that maybe she’ll manage to convince him about her genuine love for his son. During the dialogue the hope slowly disappears, she realizes that for a while she needs to go away – and finally, she learns that she has to leave Alfredo forever. Klára Kolonits every movement, every slightest tremble on her face expressed the tragedy of the fallen girl. And so her interpretation was most poignant in the fourth act (…) – that was the point where we could experience in the most perfect balance singing and playing.”

6th December 2006, Károly Fülop