Eva Zaïcik's Olga is a marvellous portrait of a young girl whose love of life allows her no pleasures. Her round, fruity mezzo distils a consummate art of phrasing, not to mention the elegant way she colours the Russian language. (Le Monde)

Versatile, animal and raw, the French mezzo is very convincing. Here she is, languidly approaching Don José to seduce him, then rebuffing him, without any emotion whatsoever. When Escamillo enters, she remains seated, her hands firmly on her thighs, her bearing haughty, sure of her seductive power. Full and warm, Eva Zaïcik's singing confirms this high-flying stage performance, the quality of the voice's projection reinforcing the intensity of the midrange and the ease of the high notes. (Opéra Magazine)

Her voice, while preserving its fullness, takes on a great sweetness in desolation and stupor. The mezzo-soprano's warm timbre, comforting vibrancy and flawless vocal homogeneity throughout the range :the Diva's divine voice.

The beauty of Eva Zaïcik's timbre and range of nuances [in] the role of Octavia. (Le Figaro)

Thanks to the radiant presence of mezzo-soprano Eva Zaïcik, with her clear, round timbre and velvety voice, crystalline high notes and deep, warm lows, we are transported to the faraway and fabulous lands of Armenia. The singer engages with an intelligence of text and an incomparable ease in the universe of the Armenian melodic tradition, magnifying it with the delicate nuances of her vocal line. Her great talent, which is deployed in different registers, operas and concerts, was also fully displayed at the Opéra royal de Versailles in L'Uomo Femina, one of the best-known pieces from two opera buffas by Baldassare Galuppi.