2017 Staatstheater Nürnberg
MD: Káli Gábor, Stage: Peter Konwitschny

2004 Budapest, Margitsziget
MD: Philippe de Chalendar, Stage: Alföldi Róbert

2001 Miskolc, National Theatre
MD: Philippe de Chalendar, Stage: György Selmeczi


“But better of all this was the radiant, rich, huge soprano of Klára Kolonits as Odabella. The singer, who is also extremely convincing in her stage performance and acting, delivers all her bravura arias seemingly effortlessly and with beautiful variety. Also in the duets and ensembles her voice gently soars above the male ones.”

July 14th 2017,, Renate Freyeisen

“Klára Kolonits (Odabella) paints with dramatic expression the character of amazon: faithful to Foresto, yet accused of betrayal. She accepts the sword (and later, the hand) of Attila just in order to kill him afterwards. Her soprano arias alternate poetical mood and wild determination.”

July 19th 2004, Katalin Metz

“Odabella of Klára Kolonits, who’s just spreading her wings at the Opera House, was worth the attention from any point of view.”

July 18th 2004, Tamás Pallós

“Klára Kolonits as Odabella created a memorable character. What’s more, she even became the opera’s main character..”

July 14th 2004,, Csaba Horváth

“Klára Kolonits was exceptional – her production would work on any of the world’s famous opera stages.”

September 2001, Előd Juhász



2016 Hungarian Stage Opera (excerpts, in concert)
MD: Dániel Dinyés

2013 Cluj, Hungarian Opera (⟳ 2015)
MD: Kesselyák Gergely, Stage: Mányik Albert


“You need very good singers for this piece. In the title role we heard Klára Kolonits: and again together with perfect role-building she sung wonderfully, absolutely musically. She was able to pass all the emotions of Luisa Miller to the audience and it was truly a title role that defined the whole performance.”

March 20th 2015,, Ildikó Lehotka

“The bright point of the evening was definitely Klára Kolonits in the title role. Her clearly resonant, powerful soprano sounded very evenly. The role bears literally no technical challenge for her, therefore she could concentrate on the expressive stage presence. She bulit up the character very believably: a loving woman, fighting for her love and then giving it up in an act of sacrifice. (…) It was worth to see the performance mainly for the protagonist singer blessed with wonderful voice in the person of Klára Kolonits.”

January 10th 2014,, Zoltán Péter

“Klára Kolonits’ Luisa is of completely different quality. She just mastered the part perfectly.”

January 6th 2014,, Tünde Ádám

“In this sense, the tragic heroines gain a privileged role, a combination of vulnerability and stubborn fidelity, despite some tortuous reactions. Klára Kolonits in the role of Luisa (…) manages to cope with churning male confrontations.”

December 12th 2014,, Catalin Bogdan

“This performance just had to take place because of the Klára Kolonits’ Luisa. Voice and role, character and interpretation created a wonderful whole that evening for the public of Erkel Theatre. This Luisa is not only suffering, but she is also passionate, not only sacrificing, but a fighter as well. Kolonits can be counted into the small group of really great singers, in her newly found Fach we wish her a lot of good roles – and that we wish for ourselves as well.”

December 4th 2013,, Antal Z.Tóth

“The title role interpreter, Klára Kolonits, did a miracle: her healthy, powerful, perfectly balanced and beautifully refined soprano radiated through the whole evening, and while there is no technical challenge for her at all in all the vocal part, she could focus her artistic energy not on singing out the notes, but on expression. Kolonits’ natural stage presence stays closer to the third act in which Luisa suffers and gasps from the poison, yet in the same time she was believable innocent young girl as well in the strikingly naïve aria (Lo vidi e’l primo palpito) from the first act. Then she made the role more and more rich and complex during the next two acts and in the end she was the one who made the show go on.”

December 3rd 2013,, Ferenc László

“When Luisa Miller “died” for the third time on stage, one could feel the tension in the audience: the spectators were already spinning around in their seats waiting for the moment when they will finally be allowed to applaud the great Klára Kolonits in the title role.”

December 10th 2013,

“Not to mention Klára Kolonits whom we got to know already as she is a member ot Hungarian State Opera: She was particularly touching as Luisa Miller.”

December 3rd 2013,, Pierre Waline

“Klára Kolonits was exceptionally good.”

December 1st 2013,, Zsuzsanna Makk



2014 Miskolc National Theatre
MD: Cser Ádám, Stage: Szőcs Artúr

2013 Hungarian Stage Opera (excerpts, in concert)
MD: Kocsár Balázs

2007 Cluj Hungarian Opera
MD&Stage: Selmeczi György

Tutte le feste al tempio – Miskolc, 2014


“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.”

May 11th 2015, 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.”

May 6th 2015,, 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.”

 April 25th 2015,, Zsuzsanna Makk


I like a lot a Violetta who – instead of suffering through her life – dares to make choices and bear their consequences. In the concept of Nadine Duffaut, Violetta is a modern woman, truly complex character who dares to be even antipathetic on stage. I am not fragile twenty years old girl anymore and I’m not pretending to be, because it would be false and anachronistic. For that reason I love what happened in end in the staging of Nadine: Violetta deprived of all her feminine attributes tries to console Alfredo in the face of her own death, as if in this production she was his mother and his lover in one person. We lose our feminine beauty as time goes by, but we stay women, and mothers, even if we have no children.


2019 Teatro Coccia di Novara
MD: Matteo Beltrami, Stage: Renato Bonajuto

2019 Magyar Opera Cluj
MD: Dinyés Dániel, Stage: Gy. Tatár Éva

2016 Csokonai Theatre Debrecen
MD: Szabó Sipos Máté, Stage: Nadine Duffaut

2014 Národní divadlo moravskoslezské Ostrava
MD: Robert Jindra, Stage: Carmen Or

2012 Szombathely
MD: Kesselyák Gergely, Stage: Mányik Albert

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

2012 Ljubljana
MD: Loris Voltolini, Stage: Lutz Hochstraate

2010 Bratislava (⟳ 2012)
MD: Peter Valentovič Stage: Marián Chudovský,

2007 Opera Osijek (⟳ 2008)
MD: Loris Voltolini, Stage: Ivan Leo Lemo

2006 Hungarian State Opera (⟳ 2008, ⟳ 2009, ⟳ 2010, ⟳ 2012, ⟳ 2013 )
MD: Stage

2002 Theatre Academy Budapest
MD: Dinyés Dániel, Stage: Horváth Patricia


“We had luck that a soprano of great interest for the voice-maniacs was available to jump into the title role. Hungarian KK who is very famous and praised in her own country, but in Italy she only appeared briefly, in Teatro Massimo di Palermo singing Bartok’s Bluebeard’s Castle. As she told us in a short interview in between the acts, she changed her repertoire entirely since then, specialising in bel canto: she mainly sings Bellini, Donizetti and early Verdi roles, although her greatest love is “Hungarian Verdi”, Ferenc Erkel, and she would be delighted to bring his music to our country – and believe me it would be great idea, as Bánk Bán is indeed an absolute masterpiece. By then, it was Traviata where we could admire Kolonits’ wonderful singing line, the rich, creamy and soft timbre of her soprano, which soars freely and evenly into the top register. Her masterful breath control allows her to show the entire broad palette of colours resulting in an involving, deeply moving interpretation. This Violetta does not hesitate to open the gate for Alfredo mid-cabaletta and to welcome him with open arms after holding a spectacular high E Flat. It is nowadays rare to get emotionally touched in the theatre but it did happen here, thanks to the endless and immensely passionate fil di voce that the soprano offered in Dire alla giovine. Her intense reading gave also justification for both verses of Addio del passato being performed.”

May 8th 2019., I teatri dell’est, Andrea Merli

“There are two operas that I am not a great fan of (don’t ask me why, for I don’t have an explanation): one is Traviata and the other Madama Butterfly. I need therefore a good reason to move to the theatre to see any of those. This time the reason was the presence in Italy of Klara Kolonits, a singer whom I adore deeply and till now I needed to “emigrate” as far as her hometown, Budapest to see her onstage. Knowing her perfect technique and affinity for coloratura singing, I knew that in the great aria from the first act we won’t have any surprises – and indeed I was right, except the ease with which she produced the final high. E Flat is always surprising and exciting for me. But what took my breath away only comes next, and in a great crescendo! As we all know, according to a popular saying, one needs more soprano for this role, because one who has agility and range to sing the coloratura of the first act, may struggle to negotiate through dramatic passages of the two following acts,  and vice versa. The vocal endowments of Klara are perfect for this task, what’s more, the intensity that she reaches in the last act is downright surprising and touching. It is clear that for her this role is incredibly important, and she lives it through note after note, phrase after phrase. She portrays a very authentic Violetta, who – although conscious of her illness – does not lack will and joy of living. Also in her duet with Germont the father she is decisive and never whiny, and she treats the audience to a disarmingly simple Dire alla giovine without the usual vocal glitter. But the real miracle is yet to come. In the last act we get to listen to both verses of Addio del passato which is as as rare as what happens next. In her Violetta there is everything: the vocality, the musicality, the interpretation and many, many colours. I always await the “Ma se tornando non mi hai salvato” phrase from every soprano that tackles this role: for me, this is the essence of the entire opera. Yesterday Klara simply killed me with this role, and my endless tears can be the proof that we experienced something extraordinary. I can say without a hint of doubt that among countless Violettas I’ve heard live, this one goes straight among the greatest. “

May 4th 2019, Lirica Oggi, Riccardo Ristori

“The Hungarian soprano, thanks to her absolutely secure and conscious technique, portrays a Violetta who is vocally spotless. In the first act she shows precise coloraturas and secure top register, including the traditional high E Flat. During the rest of the show she makes the most dramatic moments ring true, thanks to the appropriate accents – all the way up to Addio del passato, performed almost entirely with beautiful, rich and well projected mezzavoce. The volume is always sufficient and the voice easily fills in the theatre. The Italian pronunciation is also generally good, only certain vowels might be perfected.”

May 4th 2019,, Danilo Boaretto

“​The entire cast is very good, everyone is very direct and uncomplicated, and in some roles we experience really great artists. Klara Kolonits results undoubtedly an exciting Violetta, with her luminous and graceful coloraturas. She approaches the role with the humility of her secure vocal technique resulting in the radiant and intensely passionate final effect. “

May 6th 2019, Opera World / Palermo Mania, Renzo Bellardone

“​Perfectly assorted cast more than once provoked mid show ovations from the audience. Klára Kolonits as Violetta reminds us that certain Danubian countries aren’t only famous for their nationalism. Her singing is secure and daring, her stage presence and her movements believable, without imitating false youthfulness.”

May 5th 2019, Le Salon Musical, Mario Ubezio

“​In the role of Violetta we eventually got a Hungarian soprano with mid-European career, who also has small but enthusiastic Italian group of followers – forcefully, travelling, because she does not get invited to Italian theatres. And that’s a great pity. She is a bit old fashioned both in her singing and in her stage presence, but this old fashioned singing technique is really very good, especially in the legatos and the graceful coloraturas. The bravura ones are a bit more cautious, so I lacked a bit of bite in Sempre libera – but the top notes are very secure. Her interpretation, save for some mistaken vowel and some old style emphasis, she is also believable (if not very personal). All in all a great professional whom honestly I would like to see even more in Donizetti or Bellini roles.”

May 7th 2019, La Stampa, Alberto Mattioli

​“The great advantage of the Novara production is exceptionally good vocal cast.”

May 3rd 2019, Concerto d’Autunno 

“​In the role of Violetta Klára Kolonits provided a vocally secure and emotional interpretation.”

May 7th 2019.,, Sofia Parola

“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.”

April 17th 2016,, 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.”

April 16th 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.”

April 14th 2016,, 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..”

April 14th 2016,, 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. (…)”

April 4th 2016,, Antal Z. Tóth

“Klára Kolonits made a compelling Violetta in Budapest.”

December 4th 2013,, 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.”

December 6th 2006, operavilá, Károly Fülop