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L’Uomo Femina

Opera de Dijon

But it is Eva Zaïcik's Cretidea that captures all the attention. With her deep, imperious bass, radiant vocal line and raw sensitivity, the queen asserts herself with natural authority and uncompromising commitment to the stage.

The cast, made up of six young French singers, also shines, as far as Galuppi allows. For the ladies, the choice was made to engage only mezzo-sopranos, whose timbres are nevertheless quite distinct. The female trio is nevertheless dominated by Queen Cretidea, a slightly more complex character with more arias to sing, masterfully served by Eva Zaïcik. (Concert Classic)

Eva Zaïcik plays with authority and subtlety a Cretidea torn by her status as Queen and her amorous passions in the midst of a metamorphosis (DIAPASON)

The cast is a delight to behold, with Eva Zaicik in particular offering Cretidea a first-rate setting, both on stage and vocally, with her impetuous low notes and skilfully controlled fragility in love. She wears her crown high, delivering shimmering colours in a deft, resolute vocal line (OPERA ONLINE).

Eva Zaïcik as Princess Cretidea, who claims the first choice of any man who arrives on the island sings with both authority and beauty (PARIS)

The vocal team is brilliant. On the female side, the mezzos rule: Eva Zaïcik (whose resemblance to Agnès Jaoui is quite uncanny) is an extremely musical Cretidea.
(RESMUSICA)

transforms into a firm, dominant force in the key moments of tension (giving all the more relief to this 'inversion of norms', which is not so rare in opera).
(OLYRIX)

A first-rate cast, with excellence on the stage. It is Eva Zaïcik's Cretidea who captures all the attention. With her deep, imperious voice, radiant vocal line and raw sensitivity, the Queen asserts herself with natural authority and uncompromising commitment to the stage. (LE MONDE)

Opposite the singers, a trio of mezzo-sopranos with different timbres. Eva Zaïcik's ample, mellow and sometimes sharp tone perfectly complements that of Lucile Richardot, generously brassy, and the lighter tone of Victoire Bunel. (TÉLÉRAMA)

Eva Zaïcik as Princess Critedea has a supple, round, warm voice, with a great sense of melody, which contrasts with her role as the merciless despot.

Eugene Oneguine

Capitole de Toulouse

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)

Eva Zaicik'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. (Concert Classic)

Eva Zaïcik's rendezvous with Olga is a frank success of facetiousness and musical seduction. (Opera Online)

Eva Zaïcik is an entirely convincing Olga in voice and acting. Her voice rises and falls with equal ease. She also dances with ease, which is no small compliment. (Forum Opéra)

(... a delirium of ovations and applause). Eva Zaïcik is the inconstant Olga we've been waiting for, putting her shimmering mezzo at the service of a naivety we know will prove fatal. (Classique Toulouse)

Eva Zaïcik's captivating vocal and theatrical nature is well known. In the role of Olga, she is perfect. (Culture 31)

Victory too (...) for Eva Zaicik, a friendly and musical Olga. An idyllic set. (Diapason)

As Olga, Eva Zaïcik leads (...) well, totally at ease throughout the range of her role, the mezzo-soprano standing out for her delightful freshness and obvious sensitivity. (Res Musica)

The other impossible couple is, as in Mozart, that formed by Tatiana's ebullient sister Olga, played by the beautiful mezzo-soprano Eva Zaicik, and the romantic poet Lenski, played by the tenor Bror Magnus Tedenes. Eva Zaicik, with her sumptuous timbre and beautiful vocal line, is the perfect embodiment of the less dreamy, less romantic little sister, who innocently plays with fire and the feelings of the tender Lenski, provoking the drama. (Cult. News)

Carmen

Capitole de Toulouse

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)

"Eva Zaïcik takes on the role of Carmen with her seductive timbre. The voice is wide, supple and present". (Olyrix)

"In the title role, [...] Eva Zaïcik shines with a flamboyance that wins over audiences and breaks hearts". (La Dépêche)

Divo Diva

Théâtre des Champs-Élysées

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.

Eva Zaïcik captivates with her pure voice, beautiful lows and masterful ornamentation. (Forum Opéra)

Eva Zaïcik combines rare and precious sounds of unequalled purity. She stretches out her hand with her voice, like a bow, with a light, supple vibrato, each note is thought out and written with her fingers, she rolls the golden sound of her song, she enchants us. (Première Loge)

Incoronazione di Poppea

Le Figaro - december 2023

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

"Confoundingly noble, Eva Zaïcik's Octavie is moving from the moment she enters, right through to a lip-smacking "Addio Roma", in which the sighs and restrained breathing serve as much the pathetic force of the scene as the infinite grace with which the text is actually spoken. She also knows how to use the furious accents of the outraged woman, biting and authoritarian, in the scene where she orders the assassination of Poppea".
Forum Opéra - 23 December 2023

Nouvelle d’Armenie

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.