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| Oper Klosterneuburg - Samson und Dalila - DALILA |
| "The focus of attention was the cast of principals—foremost among them Margarita Gritskova as Dalila, who celebrated a triumphant role debut. As a seductress who was at once passionate and ice-cold, she dominated the stage with both her voice and her acting, displaying an enormous range of facets." |
Janet Teplik, Leadersnet.at, 08.07.2026
leadersnet.at |
| "Margarita Gritskova once again demonstrated what a fantastic singer she is: she mastered the role’s notoriously challenging low register just as effortlessly as its dramatic outbursts in the soprano range. One immediately believes her when she says she has always wanted to sing this part—this debut marks the arrival of a new Dalila, because she is not only vocally perfect for the role but also commanded the stage throughout the evening. The highlight of the performance was, of course, her interpretation of the 'Mon cœur' aria—one of the finest performances currently to be seen on international stages. With this interpretation, she proves herself worthy of any major opera house." |
Alexandra Goll, MeinBezirk.at, 04.07.2026
meinbezirk.at |
| "Saint-Saëns’ opera lives on great contrasts: seduction and violence, religious exaltation and personal weakness. Precisely for this reason, much hinges on the two title characters. Margarita Gritskova evidently succeeded in giving Dalila a distinct character and charisma. This is a crucial point, especially in an opera like 'Samson and Delilah', where the interplay between power and powerlessness lies at the core. When a production opts for restraint, the vocal and dramatic quality of the lead roles naturally takes center stage. In this regard, Dalila clearly held the upper hand on this particular evening." |
extrig.at
extrig.at |
| "One reason why this work is so rarely performed may lie in the demanding nature of the roles. Margarita Gritskova portrays Dalila as a passionate, vengeful temptress. In a moment of triumph, she displays the lock of Samson’s hair that had granted him superhuman strength. She lets her rich-toned mezzo-soprano flow freely during the seduction scene." |
Susanne Zobl, Kurier
kurier.at |
| "Margarita Gritskova is the one who most effectively portrays the character of a fanatic willing to sacrifice human lives, displaying great dramatic versatility. Her voice—rich in substance and adorned with vibrato—navigates the space between ritual and enchantment." |
Ljubiša Tošić, Der Standard, 05.07.2026
derstandard.at |
| "A versatile temptress—Margarita Gritskova was perfectly cast as the seductress Delilah. In her principal aria, 'Mon cœur s‘ouvre à ta voix,' she showed the versatility of her voice. (…) She remained unruffled even by very long musical phrases—and the sight of her raising Samson’s lock of hair aloft like a trophy, enveloped from behind by smoke and light, left a powerful, lasting impression." |
Theresa Steininger, Die Presse
diepresse.com |
| "Mezzo-soprano Margarita Gritskova is a welcome guest on the summer stage in Klosterneuburg. It is not only her spectacular costume by Anna-Sophie Lienbacher that draws the eye; with her rich, dark timbre, she imbues Dalila—in what marks her role debut—with a fascinating blend of sensuality and calculation. She navigates both the low registers and the high notes with ease. (…) The two leads are at their strongest in their duets. In the lyrical passages, the metallic quality that occasionally creeps into Benedikt’s voice vanishes, while Gritskova holds back the dramatic intensity, infusing her voice with palpable warmth." |
Stephan Burianek, opern.news, 12.07.2026
opern.news |
| "Director Mario Pavle del Monaco and Artistic Director Peter Edelmann, together with a top-class ensemble, succeeded in creating an impressive production. Margarita Gritskova was compelling as the seductive Dalila, Kristian Benedikt impressed in the title role of Samson, and Serban Vasile brought great expressive power to the role of the High Priest of Dagon." |
Stefan Öllerer, Ö-News, 05.07.2026
oe-news.at |
| Opera Queensland – La Cenerentola - ANGELINA |
| "As Angelina, Margarita Gritskova gives a beautifully judged performance. Her voice has warmth, richness and ease, with excellent breath control and a thoughtful command of volume. She does not overplay Cinderella’s goodness, which is important. Too much sweetness can make the character feel passive or sentimental, but Gritskova finds her dignity, emotional truth and quiet resilience. Her singing has a heavenly quality, but her acting keeps Angelina human." |
Stage Whispers
stagewhispers.com.au |
| "Margarita Gritskova’s brilliance in channelling Angelina and delivering Rossini’s sparkling, fiendishly tricky arias is breathtaking. She soars with such power and glorious tone that the audience gasps in silence. Her astonishing, controlled virtuosity is welded to emotional meaning, especially in her achingly mournful “Una volta c’era” and the superb “Nacqui all’affanno, al pianto … Non più mesta”." |
Limelight
limelight-arts.com.au |
| "The evening culminated in a breathtaking rendition of the final aria, Nacqui all’affanno. The sheer physical and vocal demand on Gritskova was clear, yet she executed the intricate runs and soaring high notes with breathtaking perfection. It was a definitive display of the prowess of Opera Queensland, proving that in a world of status and scorn, kindness remains the most potent and electrifying force of all. For those seeking the pinnacle of the Brisbane Bel Canto festival, this production is an essential, highly recommended experience." |
The Urbanite
theurbanite.com.au |
| "Margarita Gritskova, in the title role of Angelina, was nothing short of a revelation. Her performance was a masterclass in the bel canto style, navigating Rossini’s notoriously difficult vocal runs with a fluid precision that made the technical seem effortless. Her “raw despair” was channeled through a rich mezzo-soprano timbre that soared over the orchestra, providing the emotional heartbeat of the evening." |
The Urbanite
theurbanite.com.au |
| "Angelina/Cenerentola was sung by Margarita Gritskova, who is no stranger to the role. Her rich deep mezzo is allied to an excellent technique, with stunningly held low notes, and her personification of the role was affecting. “Nacqui all’affanno... Non più mesta” was the highlight it should be, with effortless coloratura." |
Bachtrack
bachtrack.com |
| "At the heart of the opera is Angelina, the gentle and resilient heroine, performed by the magnificent Margarita Gritskova. Her portrayal reflects unwavering strength and grace, her voice effortlessly navigating Rossini’s demanding vocal lines while maintaining emotional clarity throughout. It is a performance that anchors the entire production, capturing both the character’s humility and her quiet determination." |
Absolute Theatre
absolutetheatre.com.au |
| Finnish National Opera Helsinki – Don Carlos - EBOLI |
| "The role of the princess Eboli seems to be customized for the mezzo soprano Margarita Gritskova . She dominates the stage both with her silvery voice and her divine charisma. Gritskova confidently conquers the stage in the joyful dancing scenes and as devastating interpreter of rage and grief." |
LVS
lvs.fi |
| Opernfestival Klosterneuburg – Norma - ADALGISA |
| "Margarita Gritskova is also quite familiar with the open air stage in the Kaiserhof of the Klosterneuburg Monastery, having been an impressive Eboli last year. This time, she portrays an empathetic Adalgisa, making a flexible and sensitive use of her mezzo soprano voice, especially in the duets with her friend and later rival, like „Mira, o Norma“. Her well-balanced combination of passion and technical brilliance, a basic prerequisite for belcanto singing, is simply fascinating." |
Online Merker
onlinemerker.com |
| "In the magnificent costumes of Anna-Sophie Lienbacher especially Norma with Karina Flores in the title role, Margarita Gritskova as Adalgisa, Arthur Espiritu as Pollione and Benjamin Pop as Oroveso celebrated great triumphs." |
NÖN
noen.at |
| Oper Klosterneuburg – Don Carlo - EBOLI |
| "Margarita Gritskova impressed as princess Eboli by beauty and vocal bravura, especially with her Veil Song, sung in presence of her court ladies. Also as an actress she effortlessly succeeds in creating a balance between the jealous intriguer and the remorseful repentant, who confesses her betrayal to the queen." |
| Der neue Merker 08 + 09 / 2023, Urusula Szynkariuk |
| "With bravura and an expressive dramatical mezzo voice, Margarita Gritskova mastersher first Eboli." |
Ernst B.Strobl - Salzburger Nachrichten
pressreader.com |
| "The Russian mezzo-soprano Margarita Gritskova, as an ambitious, zealous and career-addicted princess Eboli, sings as if she is constantly under power. Thus, she spreads a persistent feeling of smoldering tension, which then also escalates into an act of revenge. The first signs of this can already be seen in her first aria "Nel giardin del bello", which sounds engaging, but cannot deny a spark of inner restlessness in Gritskova’s interpretation. Her repentance and unconditional withdrawal into the solitude of a monastery sound truly. Whether this decision is actually final, however, may be doubted by this easily excitable, hypersensitive woman who is fighting for recognition. Unless she soon becomes an abbess." |
Manfred A. Schmid - Online Merker
onlinemerker.com |
| "Margarita Gritskova was a great Eboli, she has the real elevation for this game, but the depth too, plus a luxurious appearance." |
Online Merker
onlinemerker.com |
| Staatstheater am Gärtnerplatz München – Anna Bolena – GIOVANNA SEYMOUR |
| "Her antagonist, the mezzo soprano Margarita Gritskova as Jane Seymour, , isn’t just a a counterpoint in the role, but also vocally. Her voice is just as flexible as her moods, ranging in between remourse and greed for power." |
| Barbara Hauter, 4.12.2020, Klassik begeistert |
| "The mezzo soprano Margarita Gritskova manages to rise to the challenge without sounding shrill or overdramatic. She always stays light, hardly ever presses and concentrates on an nuanced voice leading with an excellent technique. The duet turns into a belcanto delight for the audience." |
Dr. Helmut Pitsch - OperaOnline
onlinemerker.com |
| "But Donizetti and his librettist have used the template for a fabulously invented and above all wonderfully composed scene between both rivals, in which Jane confesses her love and at the same time tries to save Anna’s life. ….and die remarkable, Russian mezzo soprano Margarita Gritskova as Jane (what a powerful and warm soprano voice!) perform enchantingly." |
Petra Herrmann - Kultura-extra.de
kultura-extra.de |
| "Giovanna Seymour with a powerfully melodious mezzo soprano voice as if made for the National Theatre: Margarita Gritskova." |
Klaus Kalchschmid - sueddeutsche.de
sueddeutsche.de |
| "Giovanna Seymour, still Anna‘s rival, who finally becomes Henry the VIIIth wife is portrayed by Margarita Gritskov who excels with a brilliant , powerful mezzo soprano voice." |
| Daniela Zimmermann - IOCO, Kultur im Netz |
| Staatstheater am Gärtnerplatz München – Anna Bolena – GIOVANNA SEYMOUR |
| "The real sensation was Margarita Gritskova in the role of Amneris. The timbre of her voice combines dark depth and tall heights merging into vocal power bursting out. She became the vocal dot above “i” in an “Aida”, which will not only be vigorously discussed by the public, but also became for her a sensual and delightful theatrical event!" |
Joachim Lange, Südthüringen.de, 31.10.2021
insuedthueringen.de |
| "All of them were outshined by Margarita Gritskova, whose mezzo-soprano turned out to be truly stunning. In the role of Amneris, she returned to the stage of the German National Theater in Weimar, in which the singer performed since 2010, but from which she was literally immediately lured away to Vienna. The thirty-three year old singer amazes as the force of the elements, impressing the audience with the dramatic power and rich timbre of her mezzo-soprano, for which there seem to be no boundaries. Even if there were no pyramids on the stage, “Aida”, staged at the German National Theater in Weimar, would be discussed without them." |
| Bettina Volksdorf, MDR Kultur.de |
| "And yet, the star of this unforgettable premiere was Margarita Gritskova. The voluminous, dynamic and mystically shaded mezzo-soprano of the former singer of the Weimar Theater allures, cooes and cries, embodying Amneris, who is capable of throwing even the Viennese opera audience to her feet, performing in front of them in her new art homeland." |
Wolfgang Hirsch, Thüringer Allgemeine
thueringer-allgemeine.de |
| Wiener Staatsoper – Der Barbier von Sevilla - ROSINA |
| "It seems like “The Barber of Seville” by Rossini, given on the stage of the Vienna State Opera on the occasion of its 150th anniversary, must’ve become the proof that the troupe’s members and the world celebrities are able to match each other. If this intention meant the answer to the question whether the voice of one of the troupe’s members could compare with the elegance of coloraturas of the best tenor of modern times, then last Saturday Margarita gave the answer to it.
Not only in duet with Juan Diego Flórez, her aria of Rosina deserves to be streamed directly on the internet all across the world tomorrow. This love couple meets all vocal and comedy preconditions that are capable to turn the evening in the opera house into an extremely amusing event.
(…) This Count Almaviva found himself a worthy countess in coquettish, sly and ardent Rosina presented on the stage by Margarita Gritskova who showed incredible flexibility in all registers of her melodious mezzo-soprano. The fact that she is a member of the theatre’s troupe is a true gift for the anniversary, which the State Opera has managed to present to itself and its audience" |
W.Sinkovicz, DiePresse
diepresse.com |
| Oper Klosterneuburg – La Forza del destino - PREZIOSILLA |
| "And then there is the mezzo-soprano Margarita Gritskova, who is outstanding in every respect, who sweeps across the stage as a Preziosilla almost in “Carmen” fashion (a good director’s idea!) And also burns off a fireworks vocal." |
Kurier - Perer Jarolin
operklosterneuburg.at |
| "Margarita Gritskova playing the part of Preziosilla has become a real pleasure for the spectators’ eyes and ears. Her powerful and clear mezzo-soprano in all its height has become the evening’s apotheosis." |
Online Merker- Johannes Marksteiner, 4.07.2021
onlinemerker.com |
| "Margarita Gritskova, a mezzo-soprano singer from Saint Petersburg, has become a real star, who has long since lived and worked in Vienna. She has performed the starring role of Preziosilla and managed to mesmerize the spectators with her posture, dancing and a gorgeous coloratura soprano. When Margarita is conquering the stage, casting different choral groups into shade, the spectators have a keen feeling of what is happening!" |
Online Merker - Sieglinde Pfabigan
onlinemerker.com |
| "Undoubtedly, Preziosilla played by Margarita Gritskova, has managed to approach it! Her mezzo-soprano, for which, as it seems, there are neither upper nor lower limits, has allowed Margarita to cope brilliantly with this rather unrewarding role, which had at times brought bad luck to some of her celebrated colleagues, and had sometimes made the spectators feel embarrassed for the performer – bravo! Until now, of all the many performers in “The Force of Destiny” I have seen, there were only three who managed to be irrevocably convincing – Luciana D’Intino, Bruna Baglioni and Kristina Kolar – now there are four of them!" |
| Online Merker- Michael Tanzler, 14.07.2021 |
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