FOTO: BETTINA VOLKE
News
JK
JANA KURUCOVÁ
REVIEWS 2022-2007
December 2022
STATE OPERA HAMBURG
HÄNSEL AND GRETEL (HÄNSEL)
"First and foremost, Jana Kurucová’s Hänsel, who fills this trouser role with stunningly comedic and precise acting, and illuminates the songs, phrases, and ensembles beautifully with her even and wonderfully timbred mezzo-soprano."
https://www.oper-aktuell.info/kritiken/details/hamburg-staatsoper-haensel-und-gretel-11122022.html
December 2022
SLOVAK PHILHARMONIC BRATISLAVA
MENDELSSOHN: 2. SYMPH. "LOBGESANG"
„The mezzo-soprano… is featured only in an impressive duet with the soprano, Ich harrete des Herrn. However, the voices must harmonize, which was fully achieved in the Bratislava performance. Since Simona Houda Šaturová possesses a darker, richer soprano, which she delivered with nobility and tasteful phrasing, the second voice naturally had to be a mezzo-soprano. Jana Kurucová was a truly luxurious choice for a smaller yet important role. Her beautiful vocal timbre and refined artistry found fertile ground.“
https://operaplus.cz/ve-slovenske-filharmonii-se-stretli-mozart-s-mendelssohnem-bartholdym...
"Kurucová, currently engaged at the Hamburg Opera, was a genuine reward for the audience, as her single appearance for the mezzo-soprano part became the highlight of this monumental work. In her duet with Šaturová, their voices blended perfectly. Kurucová filled the entire hall with her sound—just as she recently did in the role of the fox in Janáček’s opera The Cunning Little Vixen at the Theater an der Wien. Her voice continues to mature in beauty, and the artist knows how to master it so effortlessly that she transitions seamlessly between cantilenas, lyrical passages, and increasingly youthful dramatic roles. It was evident that both soloists had deeply connected with the spiritual essence of this work."
(foto: Alexander Trizuljak / SF)
November 2022
WELSH NATIONAL OPERA
DVOŘÁK: BIBLICAL SONGS
„Slovak mezzo Jana Kurucová was the soloist in the first five of Dvořák’s cycle of 10 Biblical Songs, Op. 99. Originally conceived for voice and piano, these five are the ones orchestrated by the composer himself. Setting verses from the psalms in the Czech of his Kralice Bible, Dvořák moves easily from quiet intimacy to more dramatic outbursts. Kurucová, her sound carrying a warm glow as well as touches of Slav timbre, coloured the words with great sensitivity, notably in the fifth setting of verses from Psalm 144, Bože! Bože! Píseň novou (I will sing a new song, O God), where the joyous dancing feel reverts to gentle contemplation by the close.“
https://amp.theguardian.com/music/2022/nov...
Oktober 2022
MUSIKTHEATER AN DER WIEN
THE CUNNING LITTLE VIXEN (FOX)
„Jana Kurucová (the Fox) brings a clear and pure timbre, utilizing her lyrical quality with playful expressiveness in her stage performance. Her portrayal is captivating and dynamic, enhanced by vocal mastery that allows her to execute precise interval leaps, maintain control, and simultaneously preserve a natural ease..“
https://www.olyrix.com/articles/production...
„Musically, the performance was excellent, with Jana Kurucová as the Fox delivering her beautiful and radiant mezzo, alongside Mélissa Petit as the Vixen."
https://klassik-begeistert.de/leos-janacek-das-schlaue-fuechslein...
September 2022
CZECH PHILHARMONIC PRAGUE
FESTIVAL "DVOŘÁKOVA PRAHA"
RUSALKA (FOREIGN PRINCESS)
„In Prague, she impressed as the Foreign Princess with her penetrating dramatic soprano and acting performance (even on stage in the concert version of the opera)."
https://operaplus.cz/koncertni-provedeni-rusalky-vzneslo-nekolik-otazniku/
”The Foreign Princess was masterfully sung by Slovak mezzo-soprano Jana Kurucová: passionate and full-voiced, without a trace of shouting or harshness.”
https://www.idnes.cz/kultura/hudba/dvorakova-praha-rusalka...
"Jana Kurucová, an excellent Slovak mezzo-soprano, challenges the traditional image of the Foreign Princess. The graceful blonde Slovak is more the opposite of Rusalka, despite bearing a resemblance to her. She brought fiery energy to the stage and was eager to perform, though she limited herself to a few gestures and, above all, her resonant voice bordering on soprano. Since her 2014 performance at the Dvořák Singing Marathon in Ostrava, followed by the release of her Dvořák album, I have considered her a hidden talent and a treasure of Dvořák’s operatic and vocal legacy, which she once again proved to the audience in the Rudolfinum."
https://www.casopisharmonie.cz/kritiky/dvorakova-rusalka-bez-kulis-skrtu-a-lyriky.html
July 2022
GERMAN OPERA BERLIN
LES CONTES D'HOFFMANN
(MUSE / NICKLAUSSE)
"As Nicklausse and the Muse, Jana Kurucová distinguished herself with her agile, clear mezzo-soprano, which served as a worthy consolation for Hoffmann’s ill-fated romantic adventures."
https://bachtrack.com
June 2022
SLOVAK NATIONAL THEATRE BRATISLAVA
RUSALKA
(WITCH/ FOREIGN PRINCESS)
„Jana Kurucová: Double the impact. She takes on both the hunchbacked witch and the Foreign Princess, completely commanding the stage. She savors every second! A vocal powerhouse with a richly nuanced performance. Kurucová also seems to have a rapidly growing fan base."
"It’s simply a joy to watch and listen to her!“
"For Jana Kurucová, it’s no major challenge to sing the mezzo-soprano role of Ježibaba and the rather dramatic soprano role of the Foreign Princess simultaneously. As a mezzo-soprano with a strong upper range, she was utterly convincing. She delivered a powerful performance, credibly shaping two distinct portraits of the characters."
June 2022
SLOVAK PHILHARMONIC BRATISLAVA
FESTIVAL "SMETANOVA LITOMYŠL"
MAHLER: DES KNABEN WUNDERHORN
(Kurucová, Plachetka, Raiskin)
„In each song, Jana Kurucová showcased not only the natural beauty and plasticity of her mezzo-soprano but also a deep sensitivity to expressive details (accompanied by fitting facial expressions), as well as technical mastery of long phrases, extending to painterly, ethereal arcs."
https://operaslovakia.sk/jana-kurucova-a-adam-plachetka-ozdobili-mahlera-v-slovenskej-filharmonii
January 2022
STATE OPERA HAMBURG
STRAUß: THE BAT
(ORLOFSKY)
"Jana Kurucová, with her rich, dark mezzo-soprano, was not necessarily seen as a Russian prince in the role of Orlofsky, but rather as an imperious dominatrix, wielding a whip, wearing straps and knee-high red lacquer boots."
"Jana Kurucová delivered a Prince Orlofsky with her dark mezzo-soprano that audiences have rarely encountered with such quality in recent years."
December 2021
STATE OPERA HAMBURG
HÄNSEL AND GRETEL
(HÄNSEL)
"Jana Kurucová and Katharina Konradi handle the challenge of convincingly portraying children in an unforced and truly heartwarming way, with no difficulties whatsoever. Kurucová’s Hänsel is genuinely a mischievous rascal who teases his sister, pushes her forward at the gingerbread house, but also protects her. The young Slovak mezzo-soprano’s voice resonates warmly and is securely controlled in all registers. How wonderful that she will appear in another trouser role as Orlovsky in the new production of Johann Strauss’ Die Fledermaus, and in 2022, she will fully embrace female roles as Maddalena (Verdi’s Rigoletto) and Donna Elvira (Mozart’s Don Giovanni).“
September- Oktober 2021
OPERA HOUSE ZURICH
I CAPULETI E I MONTECCHI
(ROMEO)
“As Romeo, the Slovak mezzo-soprano Jana Kurucová made her debut in Zurich, delivering an impressive performance with a commanding voice. From her entrance aria, it was clear that the audience was witnessing an exceptionally flexible and perfectly prepared singer."
"Magnificent!"
"The harmony between the two voices (with Rosa Feola) in the duets and scenes, as well as the profoundly moving final scene, was unparalleled in beauty."
https://opernmagazin.de/wiederaufnahme-von-i-capuleti-e-i-montecchi-am-
"Rosa Feola and Jana Kurucová as Giulietta and Romeo prove to be rocks of stability, versatile and highly musical bel canto singers who also meet the demands of the staging concept. Feola delivers perfect high notes and crystal-clear coloratura, while Kurucová captivates with her seductive mezzo and outstanding stage presence."
https://onlinemerker.com/zuerich-opernhaus-i-capuleti-e-i-montecchi...
„Rosa Feola as Giulietta and Jana Kurucová as Romeo deliver magnificent bel canto singing, stylistically flawless and brimming with emotion. This is bel canto at its finest! Nothing is left to be desired here.“
https://onlinemerker.com/zuerich-opernhaus-i-capuleti-e-i-montecchi-crescendo-des...
"Mezzo-soprano Jana Kurucová sang and portrayed an exceptional Romeo, bold and boyish in confrontations with the chauvinistic, mafia-like Capulet family, at times impetuous, at times tenderly concerned in her moments with Giulietta. Kurucová’s wonderfully velvety voice shone with remarkable brilliance in the entrance aria Ascolta, se Romeo t’uccise un figlio and demonstrated dramatic, fiery intensity in the subsequent cabaletta La tremenda ultrice spada.
In the discovery of the (seemingly) dead Giulietta, heart-wrenching, pale tones could be heard, and the ensuing aria Deh! tu bell’anima moved the audience to tears, with one of those long, poignant melodies that only Bellini could compose, piercing straight to the heart.
In the duets, the voices of Romeo and Giulietta intertwined and blended marvelously, their timbres equally beautiful. Rosa Feola imbued the demanding role of Giulietta with as much sensitivity as Jana Kurucová brought to her Romeo—a true vocal dream team, if only the story weren’t so tragic."
https://www.oper-aktuell.info/kritiken/details/zuerich-i-capuleti-e-i-montecchi-1992021.html
September 2021
SLOVAK PHILHARMONIC BRATISLAVA
BEETHOVEN: SONGS
„Kurucová is a mature artist, and art song suits her exceptionally well. She demonstrates how much musicality, extraordinary talent, and expressive depth lie within her. Her phrases are shaped in sweeping arcs, free of pathos but charged with remarkable inner energy. Her interpretation of Beethoven is tasteful and classical, with a subtle romanticism that surfaces even in these masterful songs.“
https://blog.sme.sk/vierapolakovicova/kultura
“Beethoven’s An die Hoffnung, Op. 94, offered Jana Kurucová a wonderful opportunity for sensitive, refined, and expressive musicianship. The entire spectrum of colors and dynamics could be heard, and together with Róbert Pechanec, they delivered a solid yet flexible structure, rich in contrasts. Her voice was resonant in every register and at every dynamic level, and when she soared into forte, it was not an operatic sound but a concert-style tone. The song concluded with an ethereal pianissimo.”
https://operaslovakia.sk/na-bhs-okienko-do-beethovenovych-piesni...
FOTO: Bettina Volke
26. September 2021 o 19:30 h
August 2021
CASTLE LITEŇ - PRAGUE
DVOŘÁK: RUSALKA
(WITCH, FOREIGN PRINCESS)
(Jindra, Kňežíková, Samek, Martinček)
“Jana Kurucová took on the dual roles of the Foreign Princess and the Witch, filling the tension-filled scenes with her unique energy and temperament. She made impressive use of her rich mezzo-soprano in the role of the Witch, particularly in the aria “To já znám,” as she mockingly responds to Rusalka’s plea. As the Foreign Princess, she sang with precision, capturing every detail of the part. In the Witch’s well-known aria, “Aj, aj! Už jsi se navrátila?” she was utterly convincing and vocally outstanding..”
https://www.casopisharmonie.cz/kritiky/rusalka-v-parku-pripomnela-v-litni...
June 2021
STATE PHILHARMONIC KOŠICE
MOZART GALA
(Leginus)
''Jana Kurucová shone at the House of Arts concert hall in Košice. Audiences admired her rich and expansive voice, the agility and softness of her tone, her beautiful timbre, impressive range and technique, as well as the flexibility through which she conveyed moods and emotions. She mostly smiled but was also fiery and mischievous, perfectly in line with the text. Her soft tones were exquisite, her transitions between dynamic shifts seamless, and her coloraturas exceptional. Every phrase was clear and precise, with the final tone always discernible and expressive, perfectly aligned with the orchestra and the musical notation.''
https://operaslovakia.sk/jana-kurucova-rozziarila-koncertnu-salu...
March 2021
ARTE TV- CONCERT BERLIN
EUROPE @ HOME SLOVAKIA
(Daniel Hope)
"The program Jana Kurucová selected followed a clear logic within the context of the concert’s theme—it focused on showcasing her homeland through the distinctive melodies of Slovakia. Daniel Hope hosted the concert in English, while it was the artist’s role not only to perform the songs but also to introduce them, explain their content, and elaborate on the reasons behind her program choices. Additionally, she charmed the audience with anecdotes about her homeland and its beauty. Jana Kurucová accomplished this with her unique charm, grace, and sincerity, expressing her love for Slovakia—its people, its nature, and its music.
The centerpiece of the 47-minute program featured songs by Mikuláš Schneider-Trnavský and Antonín Dvořák. With this selection, she idealized Slovakia as a land full of beautiful melodies and stunning nature. However, she gently reminded the audience twice that while Slovaks are warm-hearted and generous people, they can occasionally show a touch of jealousy.
Her primary goal was to convey the deep love she feels for the country beneath the Tatra mountains—the land where she grew up. This love, intensified by physical distance, also evokes an ever-deepening longing for her homeland. A similar sentiment was evident in the reflections of Lucia Popp and Edita Gruberová, shaped by the isolation of the totalitarian era."
September 2020
EVANGELICAL COLLEGE PREŠOV
DVOŘÁK: BELOVED SONGS
(Klavier: Duzdová)
"The interpretation of these songs is a demanding task for a singer. They consist of musically brief passages where emotions must be conveyed with utmost precision. Jana Kurucová was fully aware of this. She knew that not a single note should escape her control. She based her performance on perfect articulation and paid attention to facial expressions and gestures. Through this holistic expression, she deeply captivated the listeners. Her interpretation became even more intimate when she presented additional song cycles by Dvořák, In the Folk Style, Op. 73, and Liebeslieder, Op. 83."
https://operaslovakia.sk/milovane-piesne-jany-kurucovej-v-presove
September 2020
STATE OPERA HAMBURG
MOLTO AGITATO
(Castof, Nagano)
"Mezzosoprano Jana Kurucová, originally from Slovakia and only recently a member of the ensemble at the Hamburg State Opera (previously the Deutsche Oper Berlin), impressed with her beautifully colored timbre and powerful expression."
February 2020
SLOVAK PHILHARMONIC BRATISLAVA
SCHUMANN: THE PARADISE AND THE PERI
(Ventura, Langmayr, Kurucová, Hollý, Czernin,
Notová, Jennis)
"A rarity at the Slovak Philharmonic in Bratislava:
The carefully selected soloist ensemble was led by mezzo-soprano Jana Kurucová, who until recently was a prominent member of the Deutsche Oper Berlin ensemble, and who here appeared in the role of the Angel.
"
February 2020
PÁLFFY PALACE BRATISLAVA
NEW MOZART CD
"Jana Kurucová, who throughout her career has mainly performed on leading German stages (after an engagement at the Deutsche Oper Berlin, she is currently a soloist at the Hamburg State Opera), has tackled numerous Mozart roles. For her profile album, recorded with the State Chamber Orchestra Žilina (also known as the Slovak Sinfonietta) under the baton of Martin Leginus, she selected ten arias and two duets from six works by Wolfgang Amadeus Mozart.
The focus is on so-called trouser roles (Cherubino from Le nozze di Figaro, Ramiro from La finta giardiniera, Sesto and Annio from La clemenza di Tito, Idamante from Idomeneo), but female characters such as Donna Elvira (Don Giovanni) and Dorabella (Così fan tutte) are also featured. Jana Kurucová remains at an age where both trouser roles and female characters suit her typologically, temperamentally, and charismatically with perfect ease."
https://operaplus.cz/nova-mozartovska-nahravka-jany-kurucove/
FOTO: BETTINA VOLKE
FOTO: BETTINA VOLKE
February 2020
CZECH BROADCASTING VLTAVA PRAGUE
"NEW RECORDING BY THE OUTSTANDING SLOVAK MEZZO-SOPRANO"
"Mozart’s arias provided Jana Kurucová with ample space to showcase the many strengths of her unique artistry. The album’s dramaturgy alone demonstrates that the singer shuns any inclination toward superficial effects. She chose to engage with characters marked by emotional depth, expressiveness, and inner passion. In Kurucová, these arias found a grateful interpreter who understood how to capture the depth and inner richness of each character’s emotional landscape. Her empathetic, detail-oriented, and highly musical interpretation effortlessly handled even the most demanding passages in terms of intonation, dynamics, and technique."
December 2019
STATE OPERA HAMBURG
HÄNSEL AND GRETEL
(HÄNSEL)
FAIRY TALES SHOULD REMAIN FAIRY TALES
"Hansel (Jana Kurucová) and Gretel (Elsa Benoit) delivered highly authentic performances in their respective roles. Vocally and dramatically, they were absolutely convincing and beautifully cohesive. A great pleasure to listen to these two singers. The audience was delighted."
https://opernmagazin.de/staatsoper-hamburg-haensel-und-gretel-maerchen...
GERMAN OPERA BERLIN
HÄNSEL AND GRETEL
(HÄNSEL)
"Jana Kurucová and Jacquelyn Stucker impress as Hansel and Gretel with their flawless singing, but most notably with their immense joy of performing on stage, which makes them appear as young as much of the audience."
December 2019
GERMAN OPERA BERLIN
NABUCCO
(FENENA)
"Jana Kurucová delivered a thoroughly convincing performance as Fenena! The Slovak mezzo-soprano brought immense emotion to the king’s daughter, both vocally and dramatically. Her wonderfully warm and pleasing voice transformed Fenena’s prayer (Oh dischiuso è il firmamento) from the fourth act into a truly moving vocal gem."
https://opernmagazin.de/deutsche-oper-berlin-ein-nabucco-zum-geniessen/?
December 2019
STATE OPERA HAMBURG
THE DEAD CITY
(BRIGITTA)
„Jana Kurucová delivered a deeply moving performance as Paul’s servant Brigitta. Her warm, resonant mezzo-soprano is a delight to the ear, and her portrayal of the character’s inner turmoil was both authentically honest and compelling.“
November 2019
STATE OPERA HAMBURG
HUMMEL HUMMEL – MORS MORS: HÄNSEL MEETS THE CHILDREN'S CHOIR CONDUCTOR
„Hänsel und Gretel” is one of the most well-known fairy tales worldwide. Similarly, Engelbert Humperdinck’s opera has enjoyed extraordinary success since its premiere in 1893. Luiz de Godoy, director of the Alsterspatzen – the children’s and youth choir of the Hamburg State Opera – and mezzo-soprano Jana Kurucová, who performs the role of Hänsel in the current production series, discuss the magic of this story and Peter Beauvais’s Hamburg staging."
https://blog.staatsoper-hamburg.de/hummel-hummel
September 2019
SLOVAK PHILHARMONIC BRATISLAVA
MARTINČEK VAN GROB: SYMPHONIE NR.4
An extraordinary concert commemorating the 100th anniversary of the death of the prominent Slovak figure M. R. Štefánik, featuring the 4th Symphony by Slovak composer Peter Martinček. The concert took place on September 12, 2019, at the Slovak Philharmonic in Bratislava under the baton of Oliver Dohnányi.
A brief report about the event aired in the main RTVS news broadcast (starting at 9:58).
https://www.rtvs.sk/televizia/archiv/14027/197836?
January 2019
GERMAN OPERA BERLIN
OFFENBACH: THE TALES OF HOFFMANN
(NICKLAUSSE / MUSE)
„The dual role of the Muse and Nicklausse was excellently performed by Jana Kurucová. It was clear that she herself greatly enjoyed this part, as her portrayal in this dual role was simply captivating. Her rendition of the “Violin Aria” in the third act (Antonia), “Vois sur l’archet frémissant”, was so moving that I secretly wished for a da capo."
"It is for such great musical moments that we love opera! Special praise to Jana Kurucová for a fantastic performance!”
https://opernmagazin.de/deutsche-oper-berlin-hoffmanns-erzaehlungen
November 2018
GERMAN OPERA BERLIN
JANÁČEK:
THE MAKROPULOS CASE
(KRISTA)
"The rising singer Krista is performed by Jana Kurucová with a fresh, radiant mezzo-soprano."
https://konzertkritikopernkritikberlin.wordpress.com/2018/11/11...
Juni 2018
PHILHARMONIC ŽILINA
CONCERT: MOZART
"There was a wonderful atmosphere on the stage of the Fatra Cultural House that night, marked by an extremely synchronized unity and mutual respect. The individual arias performed by the soloist were skillfully interwoven with orchestral works, allowing the vocal pieces to shine even more and creating a delicate space for interludes and relaxation.
Kurucová is truly a gifted artist, blessed with natural talent, a beautifully placed voice that is flexible and malleable, technical precision, tasteful ornamentation and coloratura, a deep sensitivity to the text, and evident self-discipline. Her performance strikes a perfect balance between drama and subtle lyricism.
What is particularly striking is her naturalness and nobility. One could continue with superlatives endlessly."
http://operaslovakia.sk/zilinska-radost-z-jany-kurucovej-a-mozarta/
May 2018
GERMAN OPERA BERLIN
MARIA STUARDA
(ELISABETTA)
DUEL OF TWO QUEENS
(Damrau, Kurucová, Camarena)
"That Jana Kurucová, as Queen Elisabetta, can hold her own against Diana Damrau’s artistry is yet another marvel of this performance. The Slovak mezzo-soprano, who has moved on from lighter roles to gradually conquer more dramatic repertoire, is a thoroughly convincing queen. Regal from head to toe, her cool and calculated demeanor reveals the vulnerability of a scorned woman. Remarkable is her precision in placing coloratura, her sharp articulation, and the way she unleashes notes like arrows without sacrificing vocal beauty. When the two queens clash at the end of Act I, two perfectly matched singing actresses face each other, expressing their emotions in a vocal fireworks display."
https://o-ton.online/aktuelle_auffuehrung/o-ton-berlin-maria-stuarda-coper-180528/
"The Deutsche Oper Berlin, in its concert performance of the opera, featured not only Diana Damrau in the title role but also other top-tier voices that contributed far more than just serving as embellishments for the evening’s star. Donizetti crafted the role of Elisabetta to be as challenging and substantial as that of Stuarda, and in Jana Kurucová, it found an ideal interpreter. Her voice, relatively bright for a mezzo, is agile and smooth, with a beautiful, distinctive timbre that remains free and secure even in the highest registers."
https://klassik-begeistert.de/gaetano-donizetti-maria-stuarda-diana-damrau-deutsche-oper-berlin/
"One of the evening’s surprises came from mezzo-soprano Jana Kurucová in the role of Elisabetta. Beyond her vocal prowess, she imbued the role with majesty, arrogance, passionate affection, and icy determination, delivering a performance that was captivating and convincing."
"Spectacular: Diana Damrau and Jana Kurucová in the Concert Performance of “Maria Stuarda” at the Deutsche Oper Berlin"
“During the concert performance at the Deutsche Oper Berlin, ensemble member Jana Kurucová sang Elisabetta with a majestically steely mezzo-soprano that initially felt as frosty as the archetype of the ‘Virgin Queen’ suggests. Yet Kurucová delivered a nuanced character portrayal, revealing insecurities and traumas: a ruler, vulnerable and torn between her advisors. Donizetti may have written more immediately emotional music for Maria, while Elisabeth is assigned more statesmanlike arias. Yet eliciting sympathy for the queen is Kurucová’s true artistry."
"Diana Damrau, in a deep-red gown, was in peak form…
No less impressive was her counterpart, Jana Kurucová, as the frustrated, power-hungry, seething Queen of England, Elizabeth I. Though technically the ‘seconda donna,’ Kurucová offered nothing less than a masterclass in bel canto. The way she translated words into dazzling scales, transformed fiery emotions into ornamentations, and fully embodied the role of the ‘evil queen’ through her facial expressions demonstrated remarkable musical intelligence and dramatic instinct."
"
https://onlinemerker.com/berlin-deutsche-oper-maria-stuarda-konzertante-premiere/
"In the role of Elisabetta, Slovak mezzo-soprano Jana Kurucová delivered a superb performance. Her mezzo-soprano has a relatively bright timbre for a mezzo, but it is dark enough to create a beautiful contrast with Damrau’s voice. She impressed in both her lower and upper registers, with coloratura flowing effortlessly. Though her voice is rich and dramatic, it retains a flexibility that suits bel canto perfectly."
"If looks could kill—the withering gazes that Jana Kurucová, as Elisabetta, unleashed like poisonous arrows at her unfaithful lover Leicester and her rival for the English throne, Maria Stuarda (Diana Damrau), certainly had the potential. The first part of the opera belonged to Elisabetta, and Jana Kurucová left no doubt, neither in her acting nor her singing, about who the rightful queen was. She stepped onto the stage with a majestic, confident presence, embodying both queen and diva. Her portrayal was a captivating mix of Bette (Davis), Marilyn (Monroe), and Lana (Turner), sprinkled with a touch of Rita (Hayworth)—in short, utterly dazzling.
Vocally, too, she was sensational: her rich mezzo-soprano displayed balance across all registers, with radiant brilliance in the high notes and effortless, naturally flowing depth. She wrapped tones in playful coquettishness, revealed a sarcastic, mocking side, like a sly serpent, while also exposing the vulnerable facets of the ‘Virgin Queen’—the fear of solitude, the torment of deciding to execute a ‘sister,’ a fellow queen. And yet, by the end of the vocal duel with Maria, she left no doubt about her decision."
"A Night of Vocal Greatness at the Deutsche Oper Berlin"
"At the Deutsche Oper Berlin, one could witness the extraordinary coming together of several world-class vocal artists. Jana Kurucová, an ensemble member of the Deutsche Oper, made her Elisabetta shine with flashes of vocal brilliance and coloratura drama. She impressed with the commanding presence and authority of a British monarch.
She shaped the role magnificently with impeccable Italian diction, particularly excelling in the demanding coloratura passages. Her gloriously darkened mezzo-soprano met the challenges of this role with complete mastery. Her flawless intonation in even the highest notes resonated with deep emotional impact. Kurucová’s dynamic vocal expression captured the many emotional nuances of the English queen—whether loving, venomous, power-hungry, or consumed by jealousy, her interpretation was utterly believable.
She stood out especially in the Act I cavatina ‘Ah! quando all’ara sorgemi – Ah dal ciel discenda un raggio’ and the climactic confrontation between Maria and Elisabetta in Act II: ‘Morta al mondo, morta al trono."
"THIS WAS WORLD-CLASS!"
April 2018
STATE PHILHARMONIC KOŠICE
CHAUSSON:POÉME DE L'AMOUR ET DE L'AMER Op.19
"A Concert That Won’t Be Easily Forgotten."
"Jana Kurucová (soloist at the Deutsche Oper Berlin) impressed with profound expression, clarity of text, and the effortless beauty of her voice. Her high and low notes were equally dynamic and captivating, and in passages with the cello, they delved into the depths of darkness. Her vocal and verbal expressions were precise and impactful in the legato lines, nasal vowels, sustained tones, and in words like “le mort,” “l’amour,” and “la mer” (death, love, the sea). The singer created stunning musical imagery and evoked visions that transported the listener to the very edge of their emotions."
December 2017
SLOVAK PHILHARMONIC BRATISLAVA
CHRISTMAS CONCERT
"Jana Kurucová – A Master of Coloratura Singing."
"Jana Kurucová – as she demonstrated four years ago – showcased her mastery of coloratura singing on the concert stage once again. She possesses a large, flexible, and well-supported mezzo-soprano with a brighter timbre. Her perfection is not just about the flawless technical execution of arias but also about the rich expression and emotion that flow directly from the artist’s soul.
At the beginning, Jana Kurucová chose the significant mezzo aria “Parto, parto” from Mozart’s La clemenza di Tito. This challenging aria spans a wide range of difficulties, from soprano heights to near-alto depths. She managed to seamlessly transition her voice into the chest register without a perceptible break. Her dynamic range was impressive, moving from powerful high passages to delicate pianissimo sections, with expressive articulation that kept the aria continuously engaging.
In the Romeo aria from Act 1 of Bellini’s I Capuleti e i Montecchi, her sleekly directed mezzo-soprano, along with her figure and costume, highlighted the youthful Romeo with beautiful melodic arcs, admirable phrasing, and a flexible voice capable of mastering every nuance of decorative singing while maintaining mobility in the mezzo lows.
Regarding Kurucová’s dramatic interplay in the Romeo and Tebaldi duet, one can only speak in superlatives. The role of Romeo (and Bellini’s music in general) fits the singer perfectly, not only through the top-notch technical rendering of the part but also through the heartfelt passion and drama she pours into the performance with her entire being."
http://operaslovakia.sk/jana-kurucova-spievala-nielen-hlasom-ale-aj-celym-srdcom/
December 2017
SLOVAK PHILHARMONIC BRATISLAVA
CHRISTMAS CONCERT
“Jana Kurucová’s Mastery of Mozartian Style and Belcanto Expression”
In the aria from the sixth part, Jana Kurucová demonstrated that the German stages had trained her in the Mozartian style, a style that particularly suits her through its combination of lyricism and drama, flowing legato lines, and virtuosic coloratura. She interpreted this demanding aria with sensitive expressive accents, a wide dynamic range (delicate pianissimos and robustly resonant fortes), precise embellishments, and agile runs.
For Jana Kurucová, who is delving ever deeper into the mysteries of Belcanto, the recitative (“Lieto del dolce incarco”), the aria (“Se Romeo”), and the cabaletta (“La tremenda ultrice spada”) in the role of Romeo provided a brilliant opportunity to showcase authentic Italian phrasing, emotional expressiveness, secure technical control of her middle and high registers (the lower registers were slightly less full), and the flexibility of her voice in intricate coloratura passages.
In the Romeo and Tebaldo duet from Act 2 of the same opera, conductor Jaroslav Kyzlink, alongside the Slovak Philharmonic, initially set a distinct atmosphere that dramatically intensified in the scene. Kurucová’s interpretation, with its heightened tragic expression, precisely mirrored Romeo’s emotional state.
https://operaplus.cz/jana-kurucova-vanocne-bratislave-hosty-taktovkou-jaroslava-kyzlinka/
Oktober 2017
CZECH PHILHARMONIC PRAG
MUSIC FESTIVAL IN PRAGUE
"The true star of the evening, however, was the Slovak mezzo-soprano Jana Kurucová. She offered a rich lower register, a powerful voice, and musical and dramatic emotions delivered at exactly the right moments, along with more than a touch of theatrical action in every aria. She was a sensual Dalila, a passionately tormented Carmen, a flirtatious Giuditta, and finally a lovestruck widow, Hanna. Kurucová is a mature singer of international stature, at the peak of her craft, and she graced the gala concert as a distinguished guest.
September 2017
CZECH PHILHARMONIC PRAGUE
DVOŘÁK: STABAT MATER
FESTIVAL: "DVOŘÁKOVA PRAHA"
"Jana Kurucová possesses a rich mezzo-soprano with a distinctive timbre that resonates beautifully across all registers. With determination and vigor, she later delivered her ninth piece, “Inflammatus."
https://operaplus.cz/sbor-hlavni-roli-stabat-mater-dvorakove-praze/
August 2017
"WALDBÜHNE" BERLIN
PARTICIPATED IN THE CONCERT WITH
ANNA NETREBKO AND YUSIV EYVAZOV
August 2017
MUSIC FESTIVAL LITOMĔŘICE
BIZET: CARMEN
"The role of Carmen was performed by the renowned Slovak mezzo-soprano Jana Kurucová, whose extensive European career (culminating in a permanent engagement at the Deutsche Oper in Berlin) was clearly evident in this concert. She commanded attention not only visually, with her thick mane of blonde hair and striking red dress, but primarily through her near-perfect vocal portrayal of Carmen. Her agile, sensually colored voice, technically impeccable across all registers, was a delight to listen to—not to mention her excellent French, rarely heard so flawlessly in our theaters.
Jana Kurucová clearly knows what she is singing, and she delivers it with convincing acting. From the coquettish “Habanera” to the seductive “Seguidilla” and the “Chanson Bohémienne,” she progressed to profoundly nuanced and demanding scenes with Don José. In the duet “Non, tu ne m’aimes pas,” she was the perfect temptress to the lovestruck soldier, and in the final “C’est toi? C’est moi!” her scorn and mockery of him could only lead to a tragic conclusion."
https://operaplus.cz/no-nezabili-byste-carmen-jany-kurucov…/
May 2017
MUSIC FESTIVAL "KLANGVOKAL" DORTMUND
ROSSINI: LE COMTE ORY
(ISOLIER)
''TRIUMPH OF BELCANTO”
“Another star of the evening was Jana Kurucová as the page Isolier, who shone in the trouser role with her warmly timbred mezzo-soprano and her ability to deliver dramatic outbursts. Kurucová beautifully conveys the lovesick emotions of the young page in the duet, with a soft and expressive middle register, while Brownlee masterfully portrays the Count’s scheming as he exploits his page’s plan for his own purposes."
http://www.omm.de/…/festspiele2017
''ROSSINI GEHT IMMER''
"Roberto de Candia als Raimbaud dürfte nahezu als Idealbesetzung für diese Partie gelten....Ein ähnliches Attribut ist auch Jana Kurucova zu zollen, die in der Hosenrolle des Pagen Isolier zu begeistern wusste."
January 2017
GERMAN OPERA BERLIN
MOZART: DON GIOVANNI
(DONNA ELVIRA)
"Particularly mezzo-soprano Jana Kurucová as Donna Elvira proves to be a match for the libertines not only vocally. She imbues her moving arias with such delicate coloraturas and dramatic high notes that the vengeful desires of her character are rendered powerfully and with resounding emphasis."
http://www.kultura-extra.de…/repertoire_dongiovanni_DOB.php
August 2016
MUSIC FESTIVAL BREMEN
ROSSINI: TANCREDI
(ROGGIERO)
"The mezzo of Jana Kurucová from Slovakia was equally impressive in the role of Roggiero, as she delivered the enchanting aria ‘Torni alfin ridente’ with boldness and resonance."
http://operalounge.de/features/musikszene-festivals/stars-an-weser
May 2016
FESTIVAL HALL BADEN-BADEN
BOITO: MEFISTOFELE
(MARTA)
"In the comprimario roles, Jana Kurucová as Marthe, dressed in a flamboyant pink short dress, contributed rich and slightly earthy mezzo tones fittingly."
http://der-neue-merker.eu/baden-baden
"In additional roles, Jana Kurucová captivates with great stage presence as Marta."
http://der-neue-merker.eu/baden-baden
"Jana Kurucová’s full and vibrant mezzo-soprano was a delight to hear as Marta."
January 2016
NATIONAL THEATER "MORAVSKOSLEZSKÉ" OSTRAVA
MOZART GALA
"Jana Kurucová has above all demonstrated the immense dramatic talent she possesses. It is clear why this charming artist enjoys such triumphs on German opera stages. The wonderfully dark timbre of her voice is unmistakable and captivating."
ostravan.cz
March 2016
SEMPEROPER DRESDEN
HÄNDEL: GIULIO CESARE
(SESTO)
"She vividly captured the essence of a teenage boy, successfully building the dramatic arc of her interpretation and portraying Sesto’s transformation from an awkward youth to a young man. Her aria ‘Cara speme’ was one of the evening’s highlights."
https://lietofinelondon.wordpress.com/tag/jana-kurucova/
"The strongest moment came for Cornelia in the duet with Sesto, ‘Son nata a lagrimar,’ at the end of Act 1. She had an outstanding partner in Jana Kurucová, whose high mezzo with great potential, forceful emphasis, and striking brilliance in the upper register made her the ideal embodiment of the youthful hero."
http://operalounge.de/features/musikszene-festivals/licht-und-schatten)Giulio Cesare
February 2016
GERMAN OPERa BERLIN
JANÁČEK: THE MAKROPULOS CASE
(KRISTA)
"In the role of Kristina, Slovak singer Jana Kurucová, a long-standing member of the Deutsche Oper Berlin, delivered a performance that filled every moment on stage with her beautifully colored, warm mezzo-soprano. As an actress, she portrayed a gently sensual, ambitious, yet very sympathetic Krista."
https://operaplus.cz/berlinska-vec-makropulos-triumf-evelyn-herlitzius/?pa=2
"Jana Kurucová delivers a magnificent Krista with her wonderfully warm and richly timbred voice."
September 2015
GERMAN OPERA BERLIN
DEBUSSY: PELLÉAS ET MÉLISANDE
(MÉLISANDE)
"The role of Mélisande, surrounded by an aura of mystery, was portrayed by Jana Kurucová as an enchanting girl. She possesses a uniform, light mezzo-soprano that also carried tragic undertones."
http://www.deropernfreund.de/berlin-do-wa-6.html
"Mélisande is in good hands with mezzo-soprano Jana Kurucová. Her voice, childlike and naive, seems to float in the dark world of Allemonde. Gravely injured by Golaud, she will die after giving birth to her baby. She is then redeemed by six Madonna-like virgins from Allemonde. The bright horizon opens in the background of the scene. Dead and yet alive. An astonishing image that lingers in the memory."
http://www.opernnetz.de/seiten/rezensionen/Berlin_Pelleas_et_Melisande_Rytz_150
December 2014
NATIONAL THEATER
"MORAVSKOSLEZKÉ" OSTRAVA
MARIA STUARDA
(ELISABETTA)
"Jana Srejma Kacirkova as Maria Stuarda had an equally formidable opponent in Jana Kurucová (Elisabetta), an internationally established Slovak mezzo-soprano, who brought immense advantages to the portrayal of her character with her passionate temperament. Her expression is expressive, yet always within the framework of the Bel canto style, and the tessitura suits her high mezzo-soprano with absolutely perfectly aligned registers. She performs convincingly, without extreme pathos, but with profound impact. The confrontation scene between the two queens was fantastically executed by both protagonists, with a magnificent curve of intensity, and would stand out even in strong European competition."
Operaplus, Kritik von Pavel Unger
Oktober 2014
SLOVAK NATIONAL THEATER BRATISLAVA
MOZART: DON GIOVANNI
(DONNA ELVIRA)
"The character of Donna Elvira has already been portrayed by Jana Kurucová at the Deutsche Oper Berlin. She sings the role very well because it lies in the vocal range where the artist truly feels at home. Her mezzo-soprano has a bright timbre, range, and technical security, allowing her to interpret roles that border on soprano. And it’s not just vocally: she lives Elvira, her disappointments, hopes, naivety, and hysterical outbursts. She embodies the character in perfect complexity and full vocal volume (in all dynamic facets). She sang and portrayed Donna Elvira with temperament and fit perfectly into the trio with Plachetka and Kocán."
Operaplus, Pavel Unger
June 2014
MUSIC FESTIVAL "KLANGVOKAL"
DORTMUND
BELLINI: I CAPULETI E I MONTECCHI
(ROMEO)
"The Slovak mezzo-soprano Jana Kurucová, who has recently performed mainly in Berlin, made her role debut with this performance and immediately became the star of the evening. Vocally, she mastered all the nuances, the long cantabile phrases, such as in the 9/8 time of the first aria with the following coloraturas of the cabaletta, the wide vocal range of the role, nearly two octaves, without any noticeable register changes, and the delicate pianissimo in the lament at Giulietta’s tomb. These were her means of portraying Romeo’s changing moods—seductive when convincing Giulietta to flee, youthful and daring against the rival Tebaldo and his followers, and profoundly sorrowful at the presumed death of Giulietta. She made all of this clear through minimal gestures while wearing a suit, and her final whispered “Giulie” was heartbreaking."
http://www.der-neue-merker.eu/dortmund-konzerthaus-i-capuleti-e-i-montecchi-konzertant
"Thus, a suitable replacement had to be found at short notice, and the young mezzo-soprano Jana Kurucová proved to be an excellent choice in every respect. Already in her first aria, “Se Romeo t’uccise un figlio,” where she speaks for peace between the Capuleti and Montecchi, which could be sealed by a marriage between Giulietta and Romeo, Kurucová excellently showcased her rich mezzo voice paired with dramatic high notes, bringing the audience to a frenzy. Even in the softer tones, her singing touches the soul, which she demonstrates in her great aria in the second act, “Deh! tu, bell’anima."
http://www.omm.de/veranstaltungen/festspiele2014/DO-2014-i-capuleti-e-i-montecchi.html
June 2014
STATE OPERA BANSKÁ BYSTRICA
ROSSINI: TANCREDI
(TANCREDI)
"In the title role, Jana Kurucová was a remarkable presence. She has a very beautiful, relatively bright mezzo-soprano voice that is well-controlled and carries wonderfully in all registers. Her final scene, the dying and forgiving Tancredi, was truly moving. The already internationally engaged artist greatly contributed to the success of the evening, and it would be interesting to experience her on stage in a beautifully staged opera production."
http://der-neue-merker.eu/banska-bystrica
"Tancredi is a role often sung by deeper dramatic contralto voices, but Jana Kurucová mastered the lower registers without losing tonal quality, while the middle and high ranges shone with metallic brilliance, cultivated legato, and virtuosic coloratura. The two great, extremely demanding duets with Amenaide were not only sung with vocal harmony, but also with precise rhythm and expression. Kurucová has the gift of accentuating situations expressively and portraying the character even in a concert version. The finale of the dying hero was captivating."
April-May 2014
GERMAN OPERA BERLIN
MOZART: DON GIOVANNI
(DONNA ELVIRA, ZERLINA)
"Jana Kurucová performed the role of Donna Elvira with a bright and well-defined voice, delivering a confident interpretation that matched the character’s persona."
www.solosapere.it/musica/3513-mozart-don-giovanni
March 2014
GERMAN OPERA BERLIN
MOZART: THE MARRIAGE OF FIGARO
(CHERUBINO)
"Jana Kurucová’s Cherubino was a true delight: Her voice was powerful and flexible, allowing her to interpret the two arias of the page in a wonderfully seductive manner."
https://bachtrack.com/de_DE/review-figaro-berlin-march-2014?destination=%2Fde_DE%2Ffind
"Another highlight is Jana Kurucová’s Cherubino, who, with two highly erotic arias and spirited, agile acting, made her character the center of the action."
http://www.deropernfreund.de/berlin-do-wa.html
December 2013
SLOVAK NATIONAL THEATRE
BRATISLAVA
CHRISTMAS CONCERT
http://operaplus.cz/predvanocni-vecer-v-opere-slovenskeho-narodniho-divadla/
November 2013
GERMAN OPERA BERLIN
VERDI: FALSTAFF
(MEG PAGE)
"Jana Kurucová was a lively Meg with a light, bright mezzo, portrayed by the director with a tender ‘Mister Page."
http://www.deropernfreund.de/berlin-deutsche-oper.html
"The always reliable Jana Kurucová was an exceptionally pleasant and attractive Meg. The fact that I mention her directly after the prima donna shows how outstanding she was."
https://ihearvoices.wordpress.com/2013/11/17/verdis-falstaff-deutsche-oper-berlin-17-11-2013/
May 2013
SLOVAK NATIONAL THEATER BRATISLAVA
CHAMBER MUSIC ENSEMBLE
ALBA MUSiCALE
"For her first recital debut in Bratislava, the artist prepared with great precision. She even called her personal text in the program booklet an invitation “into the world of music full of emotions.” This was also the key word and motto of the evening, where emotional depth, vocal quality, and musicality blended beautifully.
Along with Jana Kurucová, five musicians from the Alba Musicale Ensemble came to Bratislava.
In the seven songs by de Falla, she created a differentiated atmosphere. Each song reflected the meaning of the words, offering a wide range of dynamics and nuances of expression. The two examples from the lesser-known genre of Zarzuela (Pablo Luna: Aria from El niño judío and Ruperto Chapi: Romance from Las hijas del Zebedeo) were the highlights of the official part of the concert. However, Kurucová’s interpretation was not only focused on the external effect; she also emphasized the emotional intensity and significance of the words in these temperamental melodies.
Her voice sounded fresh, well-positioned, and balanced across the registers, except for the less resonant chest register. She presented an honest, not affected, expression through her voice. The encore, “Habanera” from Bizet’s Carmen, with her acting skills and direct connection to the audience, earned her the deserved ovations from the entire hall."
http://solokoncert/janakurucova(übersetztausdemdeutschen/pavolunger
April- May 2013
GERMAN OPERA BERLIN
DONIZETTI: LUCREZIA BORGIA
(MAFFIO ORSINI)
Gruberová, Breslík, Kurucová
"Jana Kurucová as Maffio Orsini is another positive surprise of the evening. Her arias require a long and flexible voice, especially in her drinking song in the second act, where all attention is focused on her character. The Slovak mezzo-soprano is the ideal interpreter here."
https://www.forumopera.com/spectacle/leffet-gruberova/
"Very movingly, he affirms his friendship with Orsini, to whom Jana Kurucová lends an impressive profile with her wonderfully expressive mezzo-soprano. With exquisite tone, she (he) recounts their shared past in Nella fatal di Rimini, earnestly warns him about the Borgia, and, at Princess Negroni’s celebration, delivers the artful and thrillingly virtuosic Brindisi."
https://www.oper-aktuell.info/kritiken/details/berlin-deutsche-oper-lucrezia-borgia-27042013.html
"We already had the opportunity to highlight the exceptional voice of mezzo-soprano Jana Kurucová in January during a performance of La Traviata at the Deutsche Oper. Her impressive vocal power, the clarity of her tones, and the confident strength of her upper register give full expressiveness to the character of Maffio Orsini. This is evident both in her furious denunciation of the murders committed by Lucrezia Borgia in the first act (‘Maffio Orsini, Signora, son’ io cui svenaste il dormente fratello’), as well as in her outstanding rendition of her famous song, ‘Il segreto per esser felici,’ in the second act."
https://www.musicologie.org/publirem/le_deutsche_oper_de_berlin_ovationne.html
February 2013
SLOVAK NATIONAL THEATER BRATISLAVA
ROSSINI: IL BARBIERE DI SIVIGLIA
(ROSINA)
"The highest expectations were placed on Slovak mezzo-soprano Jana Kurucová, who has been a member of the Deutsche Oper Berlin since the 2009 season. She sang Rosina not only with her own unique temperament but also impressed with a remarkable example of perfect recitatives, which are as demanding as the striking arias. Her mezzo-soprano is resonant and rich in color—yet also admirably agile, with a pearly fluidity rarely found in darker voices. She portrayed Rosina not as a fragile, innocent girl but with the cunning of a mature woman."
(Übersetzt aus: Terézia Ursínyová: Barbier von Sevilla in SND Bratislava )
September 2012
TEATRO PETRUZZELLI BARI
MOZART: DON GIOVANNI
(ZERLINA)
"Irresistible was the pairing of Zerlina and Masetto, performed by mezzo-soprano Jana Kurucová and baritone John Chest: both stood out with commendable ease, thanks to consistently clean and precise vocal delivery combined with a fresh and youthful appearance, which conveyed a delightful sense of tenderness."
http://www.iltaccoditalia.info/sito/index-a.asp?id=22206
"With the charming Jana Kurucová, the production returned to a Zerlina in a clear mezzo-soprano register; the Slovak singer skillfully used her vibrant traits to emphasize her stage presence."
- oltrecultura.it -
July 2012
FESTIVAL PERALADA
MOZART: DON GIOVANNI
(ZERLINA)
"Jana Kurucová stands out. Lively and delicate, the Slovak mezzo-soprano brings freshness and musicality to Zerlina."
- clasiqueinfo -
January 2011
ESTATES THEATRE PRAGUE
IDOMENEO
(IDAMANTE)
"In the role of Idamante, the young Slovak mezzo-soprano Jana Kurucová presented herself as a remarkable talent in Prague. I was particularly captivated by the color and resonance of her voice, which she handled with complete confidence."
http://idomeneo/stavovskedivadlo/praha
August - September 2011
TEATRO MAESTRANZA SEVILLA
MOZART: THE MARRIAGE OF FIGARO
(CHERUBINO)
"The utterly charming Cherubino by Jana Kurucová was celebrated, her voice beautiful and warm. She delivered a highly erotic Non so più, focusing not only on the enchanting aesthetics of the music but also on the passionate and impulsive character it conveys."
- el patio de butacas -
"Outstanding was the young Slovak mezzo-soprano Jana Kurucová with her sunny voice. She sang her canzonettas with true devotion to every word, and those ritardandi at the end of Non so più went straight to the heart."
- diariodesevilla -
"For me, Jana Kurucová as Cherubino was the best of all. With a voice both silky and seductive, she created moments of great sensual intensity in her two solo performances."
- el Correo de Andalucía -
"Outstanding was the performance of Slovak mezzo-soprano Jana Kurucová as Cherubino, with a delicate voice, stylistically appropriate portamenti, and a presence that nearly stole the entire opera during her two main arias, Non so più cosa son and Voi che sapete."
- elcorreoweb.es -
February 2011
GERMAN OPERA BERLIN
VERDI: LA TRAVIATA
(FLORA)
"The mezzo-soprano, with her warm voice, is not only captivating in trouser roles (recently Cherubino and Jebbel), but also cut an impressive figure as the vampish Flora in thigh-high patent leather boots."
- Oper aktuell -
January 2011
GERMAN OPERA BERLIN
FRANCHETTI: GERMANIA
(JEBBEL)
"Jana Kurucová delivered a highly impactful performance in the trouser role of Jebbel. The voice of this mezzo-soprano boasts a fantastic timbre and an impressive, room-filling brilliance."
- Oper aktuell -
September 2010
GERMAN OPERA BERLIN
DEBUSSY: PELLÉAS ET MÉLISANDE
(MÉLISANDE)
"Jana Kurucová enchants as a luminous and radiant counterpart. Her wonderfully bell-like mezzo-soprano resonates as if from another realm. Psalm-like, both plaintive and seductive, it breaks through the darkness of this fading family once again, like the diffuse sunrays that shine delicately, as in Lionel Feininger’s cathedrals."
- theaterkritiken-berlin.de -
Year 2010
GERMAN OPERA BERLIN
ROSSINI: IL BARBIERE DI SIVIGLIA
(ROSINA)
"As Rosina, both visually and theatrically, she was an ideal casting, especially impressing with her virtuoso coloratura passages, showcasing her rich, well-controlled mezzo-soprano—undoubtedly a great talent that the Berlin audience will surely enjoy for many years to come."
(neue Merker - Berlin 2010)
"With both voice and appearance, she is the ideal interpreter. The lovely Slovakian portrays Rosina as a cheeky girl, a clever young woman who knows exactly what she wants. She is a member of the ensemble at the Deutsche Oper Berlin, which has likely secured a soon-to-be star."
(neue Merker - Berlin 2009)
November 2008
HEIDELBERG
BERLIOZ: LES NUITS D'ÉTÉ
"Jana Kurucová made the Berlioz cycle, consisting of seven pieces, a true listening pleasure, bringing its originality and melodic richness closer to her listeners with her voice, charm, and expressiveness. From cheerful advances towards spring to the depiction of a ghostly cemetery scene, she stretched the arc of her clearly articulated and sensitively intonated singing."
- Mäische Kultur -
December 2008
THEATER SCHWETZINGEN
VIVALDI: TITO MANLIO
(LUCIO)
"Jana Kurucová amazed the audience with her virtuosic handling of the incredibly difficult, Vivaldi-inspired instrumental coloraturas of the young Lucius."
- ZDF Theater Kanal -
Oktober 2008
THEATER HEIDELBERG
MOZART: LA CLEMENZA DI TITO
(SESTO)
"At the end, Jana Kurucová as Sesto is warmly applauded. Rightly so. She sings with confidence, ease, and yet expressiveness. With warmth and vocal maturity, she skillfully phrases the inner contradictions of Sesto, making them audible through wonderfully balanced transitions. As so often with Mozart, an unquenchable longing sinks into the souls of the people."
- Mannheimer Morgen -
December 2007
THEATER SCHWETZINGEN
VIVALDI: L'OLIMPIADE
(MEGACLE)
"The performance of the young vocal ensemble was versatile, as they not only had to engage with the embellishments in the repetitions of the A-sections in the Da Capo arias. Particularly the mezzo-soprano Jana Kurucová impressed across the board – with her shimmering timbre and her dramatic portrayal of the pants role of Megacle, who, at the Olympic Games, is supposed to win the beloved woman as a trophy for his friend Licida, while unknowingly betraying his friend."
- Klaus Kalchschmid -
