Reviews
"Die Soldaten", New National Theatre Tokyo:
Victoria Loukianetz sang Mary, her dramatic soprano overwhelming. Nikei Shinbun, May 2008 Vicoria Loukianetz sang Mary brilliant without exceptions. Nihon Kezai Shinbun, May 2008 Victoria Loukianetz, wellknown guest of the opera house, sang Mary with enthusiasm. Unseen her interpretation of the endangered innocent girl. Yomiuri, May 2008 "Le Prophète", Philharmonie Essen:
...Victoria Loukianetz, enchanted the audience with a clear and secure soprano as Berthe. Westdeutsche Allgemeine Zeitung, May 2007 "Die Entführung aus dem Serail", Teatro Regio di Torino:
Dealing with Constanze's fiendish coloratura seemed effortlessnesss for Victoria Loukianetz, dazzling to the ear and spectacular to the eye in Giusi Giustino's exquisite couture. The Opera Critic, May 2006 "Idomeneo", Oper Köln:
Elettra with the lyrical warm voice of Victoria Loukianetz. She masters the part of the daughter of Agamemnon with perfect pianos and impeccable phrasing. Opernglas, May 2005 Victoria Loukianetz sang the arias of anger and fleeing with great coloraturas and dramatic pregnancy. Kölnische Rundschau, March 2005 "L'elisir d'amore", Tokyo National Opera:
Victoria Loukianetz as Adina enchanted the audience with a voice like a pure cristal. Yomiuri, August 2002 "Rigoletto", Anfiteatro di Cagliari:
The lyric soprano Victoria Loukianetz was the affectionate and devout Gilda thanks to her technique of elevated quality. Tiscali Spettacoli, July 2002 "Medée", Deutsche Oper Berlin:
Victoria Loukianetz could convince as the rival Dircé with a common ease. Remarkably her security in this technically not simple part. She even kept cool, when she was wrapped in a voluminos wedding veil and had to balance forward on a narrow long desk in the following scene. Radio Berlin, May 2002 Victoria Loukianetz as his engaged one from Korinth sings with charm and a beautiful lightresplendent timbre. Frankfurter Allgemeine Zeitung, May 2002 Victoria Loukianetz as Dircé with a pretty, smooth soprano pleased particularly well. Opernglas, June 2002 Victoria Loukianetz as Creon's daughter, the Princess Dircé, smothered in yards of white more as if being bound in a winding sheet, tottering towards her fate along the ritual path of the table top for a wedding feast which was interrupted by the arrival of the wife that was. Those images, and her representation of vulnerability, will be long remembered. The Opera Critic, June 2002 "Ariadne auf Naxos", Aalto Theater Essen:
"Outstanding Victoria Loukianetz as Zerbinetta" She has everything, glittering coloraturas, a charmful mixture of raffinesse and childlikeness, a complete unit of singing and gesture. Standing ovations for her hair-raising monster- aria "Großmächtige Prinzessin", the musical highlight of the evening. Neue Ruhrzeitung, February 2002 Zerbinetta has to sing the most dreaded part of the coloraturas. Voice-acrobatics par Excellence. Victoria Loukianetz finds easy, silvery tones and keeps coquettishly the threads in her grip interacting with her colleagues. Westfälische Rundschau, February 2002 Victoria Loukianetz as fantastic coloratura soprano in an enormous part. You listen to sensational, facet-rich revelling in Strauss' colours. Westdeutsche Zeitung, February 2002 "Ginevra di Scozia", Teatro Communale di Trieste:
The interpret of the title part, Victoria Loukianetz, already got to the top. With her performance she was not inferior to her colleagues. She mastered her large scenes with marvellous tones and interpretation, and proofed her excellent repute. Der Neue Merker, June 2001 "La Traviata", Wiener Volksoper:
The Vienna Volksoper has to offer first of all a Violetta, who fits perfect into the concept of Hans Gratzer. Victoria Loukianetz fulfils the so unfortunate courtesan with vocal life, impresses with high drama, beautiful coloraturas and vocal truthfulness. Expressiveness and intelligent phrasing are not a contradiction for the soprano; her piani prick up your ears more than once. Kurier, June 2001 Victoria Loukianetz is completely outstanding in the title part of Violetta, with which she is familiar already since a long time. A marvellous soprano: secure, slim, radiating, strong. And with her interpretation Mrs. Loukianetz knows to touch deeply - regardless of any "direction concept". That is really a great performance. Wiener Zeitung, June 2001 Victoria Loukianetz (as Violetta) is qualified to carry the evening. She has a great feeling for tragedy and humour and fulfils the empty space with intensity, without overexcited outbreaks, but discreet. Her voice is perfect for the coloraturas of the part. Large ease of the runs. Without any doubts her pianissimos are of first quality, not being heard since a long time in the Vienna Volksoper. Der Standard, June 2001 Highly impressive above all Victoria Loukianetz as an omnipresent title heroine. The soprano, who started her international career from the Viennese State Opera, originating from Kiew, masters all difficulties of this part. With perfect coloraturas, secure high tones and impressive lyrique she interprets the coquettishness of Violetta Valery just as concisely as her desire and despair. Kleine Zeitung, June 2001 Saturday a packing, valid, convincing "La Traviata" in the Vienna Volksoper: Victoria Loukanietz plays it, setting singing and interpretation to the coincide, playing trumps with each fiber, never exaggerating diva-like, but with all expressive and dramatic facets. Not only the last act, the entire evening actually was hers. Salzburger Nachrichten, Juni 2001 "Lucia di Lammermoor", Teatro Verdi, Pisa:
A good company of singers in which an optimal Victoria Loukianetz has prevailed, a Lucia of great scenic performance, but above all good vocal qualities. Her part of engagement and difficulties, with moments of great agility and coloraturas highly virtuoso (not limited to the famous scene of madness). A part which many sopranos try to avoid, just for this, Loukianetz already deserves the applause. Il Mesaggiero December 2000 Victoria Loukianetz has faced the stratospheric difficulties of Lucia with great commitment and devotion, she mastered her debut with great success. Il Tirreno, December 2000 "La Traviata", Royal Opera Covent Garden:
Victoria Loukianetz took the house by storm with a portrayal which caught the fragility, inner strength and innate goodness of a young woman whose passion for life and sense of self-worth puts to shame those who surround her. She shaped the music with due regard for words, spun a soft legato and had the power for the big moments. She plumped the multiplicity of emotions in the Act I scena. launched "Dite alla Giovine" with heartbreaking simplicity. May she soon return. The Stage, November 2000 "La Traviata",Cologne Opera :
The casting of the main roles for this production can be described as a stroke of luck - first and foremost Victoria Loukianetz. With her slender figure, graceful body language and girlishly young facial features, simply her looks suffice to evoke the character of the Chamomile Lady. That this young Ukrainian not only has a marvellously toned voice but is also able to combine
perfect technique, which never sounds sterile, with a highly controlled delicacy, enables her to give her role a deeply spiritual and stirring intensity. She reduces the dramatic attacks to a minimum and, by so doing, enhances their effectiveness in the midst of the floating piani, calm melodies and pearl-like coloraturas.
Opernglas, February 2000 "La Traviata", Opéra de la Bastille: The miracle of "La Traviata" for a few privileged listeners at the Bastille: Loukianetz was convincing in the role which she mastered both musically and psychologically and which she breathed life into and brought to a close honestly and fervently. Le Monde, January 1998 "La Traviata", Salzbourg Festival: Brilliant Victoria Loukianetz as "Chamomile Lady" Violetta. Tender and agile, her soprano voice, lyrical at times, and at time dramatic, without exaggerated power, easily outshone both the orchestra and her colleagues on the stage. Her coloraturas were appropriate and flawlessly precise. Her sadness was touching without turning into a tear-jerker. A case of serendipity in terms of taste and understanding. Frau Loukianetz impressed the audience with her acting skills, precisely balancing the foolishness of the woman of the world, the doubts of the woman in love, and the fragility of the woman rejected and dying. Süddeutsche Zeitung, August 1995 "Le prophète", Vienna State Opera: But the young Victoria Loukianetz in the role of Bèrthe can chalk up a triumph: she was the actual discovery of the evening. Die Welt, May 1998 Viktoria Loukianetz as Berthe proved her dramatic - and coloratura - qualities. Salzburger Nachrichten, May 1998 Viktoria Loukianetz as radiant Berthe was more than a marvellous and coloratura-proven third star of the evening. Wiener Zeitung, May 1998 The most amazing singing parts in these Show supplied however Viktoria Loukianetz. In some instants she succeeded with the bright, swinging lyrique of her soprano in transforming the whole caboodle for some beautiful instant into real music - theatre. Der Standard, May 1998 Of course, a work like "Le Prophète" only radiates, if two superstars of the highest dramatic guild are available. Those are Placido Domingo and Agnes Baltsa (they had hard competition in the young Viktoria Loukianetz as Berthe). Tages-Anzeiger, May 1998 "Rigoletto", Grand Théâtre de Genève: Gilda, as played by Victoria Loukianetz, answered in a young, fresh tone, generous vocalization and full, high notes. Orpheus, May 1997 "Un ballo in maschera", Teatro San Carlo, Naples: Oscar was played by Victoria Loukianetz, whose appearance and character were ideal for the role of the clever page: small and full of temperament, but with a brilliant soprano voice which one could hear as far as Capri. Luciano Pavarotti in his book "My World - My Life" "L'elisir d'amore", Vienna State Opera: Because in the house on the ring there is more than one outstanding Adina and Victoria Loukianetz sang so captivatingly, the "Love Potion" has again gained in plausibility. Kurier, February 1996 |