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Selected Performance Reviews

(Minnesota Opera)
“It’s a strong cast all around.  Vivica Genaux brings her customary vocal aplomb to the ‘pants role’ of Orsini, making him a more sensitive character than is customary in this part.”
Michael Anthony, Star-Tribune (Minneapolis, MN), January 26, 2004

“Completing the quartet of outstanding principals are a sweet-voiced Bruce Ford and the always first-rate Vivica Genaux.”
Rob Hubbard, Pioneer Press (St. Paul, MN), January 26, 2004



(Concerto Köln – Théâtre des Champs-Elysées – Paris)
“How well this pairing was matched was not recorded, but the two North American singers [Mezzo Vivica Genaux as Mark Anthony and soprano Isabel Bayrakdarian as Cleopatra] were finely balanced and blended perfectly vocally.  Miss Genaux offered a rounded and even tone, finely matched throughout the registers in the classic mould.  Her considered attention to text marked her as an actress of distinction, even in concert, while her assured renditions of some technically highly demanding writing were outstanding.”
George Hall, Musical Opinion Supplement (London), Summer 2001

“Mezzo Vivica Genaux, from her first entrance, asserted herself as an important talent.  Her nut-brown chest register runs without any hint of hear change into a middle register of comparable quality.  In this she resembles a junior Marilyn Horne, without the vocal or indeed physical clout of her great American colleague, but with an impressive virtuoso technique.  Her sense of joy was compulsive.”
Stephen Mudge, Opera News, July 2001

“The Marc'Antonio was sung by Vivica Genaux, whose rich, warm chest tones and vocal agility was a perfect complement to her partner.  The final duet, 'Bella etade avventurosa' is masterful, profound music and was brilliantly performed.  It was an important success for these two fine singers.”
Frank Cadenhead,, May 5, 2001




(Los Angeles Opera)
“Musically, this ‘Orfeo’ is very well done.  Genaux, best-known for tackling the florid music that came just before and just after Gluck (notably Handel and Rossini), is an unusual Orfeo.  She has a distinctive voice with the chocolate and brandy tone of a big contralto but the agility of a light-voiced mezzo.  Her timbre changes notably in different registers, and her first utterances Saturday, and acidic cry of ‘Euridice’ against a chorus lament, were like an ugly slash in a pretty picture.  She sounded all wrong.  But that proved a kind of sucker punch.  Her incredible flexibility keeps one listening in a state of incredulity.  Gluck’s vocal music isn’t quite as plain as many singers make it seem; he didn’t want fireworks, but he expected decorous embellishments of the line.  Genaux provides them, and they are exquisite, especially in the beloved aria ‘Che farò senza Euridice,’ her voice kaleidoscopically splintering color.”
Mark Swed, Los Angeles Times, December 1, 2003

“She uses her instrument with virtuosity; her vocal production is without effort, her coloratura easy and as sharp as a razor blade, each note full and the trills effective.  ‘Che faro senza Euridice’ was expressive and rich in color and technical mastery.”
Noah Manne, Opéra International, February 2004

“Vivica Genaux’s multi-faceted Orfeo was impressive throughout, displaying wondrous flexibility and a wide range of vocal colors, from anguished exclamations during the opening burial scene to a plangent ‘Che faro senza Euridice’.”
Carl Byron, Opera News, April 2004

“[Mezzo-]soprano Vivica Genaux plays Orfeo and sings with such power and clarity, such devastating grief and such clarion joy that it is a surprise to learn that she has never sung the role before (It is also her LAO debut).  Dressed in a simple, long black mourning coat, black trousers and dress shirt, the only touch of dishevelment a carelessly untied bow tie, Orfeo is ready to brave the furies of hell for his love.”
John Farrell, Press Telegram (Long Beach, CA), December 1, 2003

“Genaux has excellent diction and good technique.  Her interesting, almost androgynous features make her convincing in a trouser role such as Orfeo.”
James C. Taylor, Opera, March 2004

“Grandness arrives, too, in the form of Orfeo’s looming role in the story, given just the right balance of heft and gleam by the impressive American mezzo-soprano Vivica Genaux,  Genaux’s shining touch and measured restraint in this gender-tweaking trouser role added to the general sense of things tilting towards the irrational.”
Josef Woodard, Opera Now, March/April 2004

"Orfeo ed Euridice, starring the sensational mezzo-soprano Vivica Genaux, turned out to be the highlight [of the LA Opera season, thus far].  The stage pictures are stunning, and so are the performances: Genaux, in the trouser role of Orfeo, sings with honeyed tone, perfectly ornamented phrasing and a penetrating sense of pathos.”
Georgia Rowe, Contra Costa Times (Walnut Creek, CA), December 12, 2003

“The success of this opera depends largely on the abilities of the artist assuming the title role and it was sung here by the mezzo-soprano, Vivica Genaux.  Tall and slim, she excels at trouser roles and her agile voice has a wide variety of dramatic colors.  As Orfeo, her embellishments were few but she sang them gracefully.  Her trills were superb with some beginning on the upper note and some on the lower.  She was particularly effective in showing the depth of Orfeo's grief over the loss of his bride as she sang with power, pathos and purity of tone.”
Maria Nockin,, December 2003

“This was my first encounter with Vivica Genaux, and it was a very felicitous one. She has a very nice mezzo timbre and full command of the baroque style, her ornamentation all done tastefully. Of course, she got a large ovation after ‘Che farò’, the only melody of this masterpiece known to the audience in the house. She had a terrific debut in the role, and I hope to see her soon in other operas.”
Luis Gutiérrez Ruvalcaba,, December 9, 2003

“The Alaskan-born mezzo Vivica Genaux, singing her first Orfeo, provided focused tone and fluent line.  She is a talented singer.” 
Timothy Mangan, The OrangeCountyRegister, December 1, 2003

“Vivica Genaux is a mezzo-soprano with much of the richness of a true contralto.  Yet she has a fairly high register, too, and all of it is as smooth as cream and as sweet as honey.  She truly carries the opera, and this young woman plays a character who is heartbreakingly sincere, calm yet emotionally charged.”
Carolyn Wightman, San Martino Tribune, December 4, 2003

“Vivica Genaux is excellent in this ‘trouser role’ using her distinctive voice intelligently.  Onstage for the entire opera, she performed with remarkable vocal versatility.”
Juliet Schoen, Malibu Times, December 18, 2003

“Mezzo-soprano Vivica Genaux displayed good control and brought in some highly musical moments, particularly in the duets.”
Marc Porter Zasada, Los Angeles Downtown News, December 8, 2003

“The evening belonged, however, to mezzo Vivica Genaux, who has set the operatic world on fire with her best-selling Baroque recordings.  Orfeo is a physically demanding part – almost two hours of nearly uninterrupted singing, and it’s a role whose entire drama is entrusted to that one voice.  Genaux caressed her notes with care and affection; her trills and musical accents were superb.”
Charles Lonberger, The Beverly Hills Outlook, December 18, 2003



RINALDO (Title Role)

(Innsbruck Festival of Early Music)
“The big interest here was Vivica Genaux in the lead role. The up-and-coming Alaskan's expressive mezzo is one of the most thrilling voices to emerge in recent years, and she wrung every ounce of emotion from her brooding, powerful Act I aria, ‘Cara sposa’.”
Andrew Clarke, The Independent (London), August 26, 2002

“For sheer heroics, there's no beating Vivica Genaux's Rinaldo.  Genaux seems born to the great castrato roles, combining precisely the hermaphrodite appeal that the original interpreters must have had with an almost inhuman gift for vocal pyrotechnics.  She looks and moves like a man on-stage, all strut and machismo, without for a moment losing her waif-like femininity.  Her voice isn't big, but she knows how to use it to its full advantage.  A natural communicator and a riveting performer, she can only get more famous from here.”
Shirley Apthorp, The Financial Times (London), August 21, 2002

“Vivica Genaux exploited her light, wonderfully even and flexible mezzo and revealed radiant stage presence as the stubble-cheeked, Christian freedom-fighter, Rinaldo. Her final Act II aria was a great piece of Handel singing, wide-ranging from her cavernous low register to a bright, ringing top.”
Stephen Mudge, Opera News On-Line, November 2002

“Vivica Genaux in the title role, who after four hours of faultless performance, still succeeded in tossing off her faultless coloratura into battle against the four orchestra trumpets.”
Jutta Höpfel, APA/Austria Pressagentur, August 11, 2002

“Vivica Genaux, who assumed the role originally conceived for a castrato, is a mezzo-soprano who sings with an unbelievable depth and fullness, and yet has the technique for the more feather light ornamentation the role also requires.”
Silvia Albrich-Warger, Innsbrucker Stadtzeitung, August 23, 2002

“The Alaska-born Vivica Genaux is the new goddess of the Early Music scene.”
Reinhard J. Brembeck, Süddeutsche Zeitung (München), August 20, 2002

“Vivica Genaux conquers the many challenges of the title role with an attractive timbre, impressive sound, and deft mastery of all the role’s coloratura hurdles.”
Susanna Kuebler, Kultur, August 13, 2002

“The new star from Alaska has a Marilyn Horne-like bronze mezzo voice.”
Heinz W. Koch, Badische Zeitung (Freiburg), August 13, 2002

“René Jacobs led the excellent Freiburg Baroque Orchestra and a terrific cast, with star-making performances by Inga Kalna and Vivica Genaux.”
Shirley Apthorp,, August 2002

(Festival de Radio France et Montpellier)
“The vocal cast is particularly praiseworthy. Vivica Genaux is magnificently accurate in her rendition of the title role. She boldly faces and superbly conquers the difficulties of the virtuoso parts of the score, written for the castrato Nicolini. She possesses a flexible, always full and round voice which she never needs to force, even in the lower register.”
Marco Gilardone, L'Opera, September 2002

“Among the singers who stand out is Vivica Genaux (as the Crusader Rinaldo), who possesses a brilliant top and excellently dispatches the role’s coloratura demands.”
Jörg Königsdorf, Der Tagesspiegel, (Berlin), August 1, 2002

“Vivica Genaux has a magnificent presence and sings with virtuosity that is hard to imagine: she is an ideal Rinaldo, valiant, very expressive in the wild musical passages, yet brings a luminous delicacy in the role’s more tender moments.”
Michèle Fizaine, Midi Libre (Montpellier), July 29, 2002

“What was clearly heard was the praise by the audience (and, subsequently, the press) for the performance by Alaskan mezzo Vivica Genaux in the title role.  Displaying a silvery, agile and expressive voice, she sang with freedom the dense coloratura of the role.  It was indeed exciting to be witness to such an assured, bravado performance.”
Frank Cadenhead,, September 3, 2002

“Vivica Genaux is a singer whose technique is perfect – she is a precise actress with dexterous vocal ability.”
Pierre Cadars, Opéra International, September 2002

“The performance was dominated by the mezzo Vivica Genaux in the role of Rinaldo, with her prodigious vocal and dramatic gifts, adapted to this role with absolute effectiveness, incorporating the personality with extraordinary luminosity, and shaping the role naturally without affectations.”
Cosme Marina, ABC (Madrid, Spain), August 1, 2002

“It [the role of Rinaldo, as performed by VG] was all impeccably sung, blessed with that reassuring technique that jumps an interval to a low note and hits it fair and square.”
Francis Carlin, Opera Now, November/December 2002


(Europa Galante/2003 Scarlatti Festival)
“Among the cast, both the valiant [Roberta] Invernizzi and Vivica Genaux caused a sensation.  The latter's assured intonation, polished lower register and clear articulation of even the most intricate passages are certainly no surprise; in addition, she boasts Italian diction which most native singers might envy.  Both Genaux and [Laura] Polverelli, who did not take part in the opera, deserve special praise for their good will in keeping an engagement which, due to funding bottlenecks, seemed uncertain until the last minute.“
Carlo Vitali,, October 2003

(Europa Galante/Théâtre des Champs-Elysées)
Theology was sung by the dusky and virtuoso-voiced Vivica Genaux.”
Jacques Doucelin, Le Figaro, October 15, 2003



SEMELE (Juno/Ino)
(New York City Opera)
" Handel's "Semele." If you were looking to cast this opera about an Olympian love triangle involving a goddess, a mortal woman and the philandering Jupiter, you might fantasize about pairing mezzo-soprano Vivica Genaux and soprano Elizabeth Futral. Both are darkly beautiful singers with darkly beautiful voices who can handle a Handelian emotional blowtorch of a role with refined technique. New York City Opera has miraculously landed both for Stephen Lawless' production of "Semele," which opens the company's season Wednesday. "
Justin Davidson, Fall Arts Preview: Critics Picks , September 10, 2006

"Vivica Genaux, in the dual role of Ino and Juno (and also Juno disguised as Ino) was strong-voiced and burnished in tone.This is a sound that is pure polished mahogany. She was the most steadfast in resisting the pop influence in her ornamentation."
Fred Kirshnit, New York Sun: Classical Music, September 10, 2006

"Elizabeth Futral (Semele) and Vivica Genaux (Juno) are formidable rivals.  Each is a specialist in spinning out Handelian cantilena to maximum effect, whether caressing a long-lined lyrical phrase or launching a cascade of virtuoso vocal fireworks.  Genaux is especially dazzling in this respect, more than confirmed by her spectacular new Handel recital just released on Virgin Classics."
Peter G. Davis, New York Magazine, October 2, 2006

"Playing a Jackie O-styled Juno (Jupiter's vengeful wife) and Ino (Semele's overshadowed sister), mezzo-soprano Vivica Genaux made her City Opera debut on Wednesday. Handel's most beautiful writing is for Ino, beseeching over spare organ and single strings. The Alaska-born Genaux fully reinforced her international reputation, especially in these dark-hued arias of despair and frustration."
Bradley Bambarger, The Star-Ledger ( Newark , NJ ), September 15, 2006

"The soprano Elizabeth Futral and the mezzo-soprano Vivica Genaux (a long-overdue City Opera début) not only make short work of Handel's vocal pyrotechnics but also lend their roles (Marilyn and Jackie, respectively) the appropriate dose of glamour."
Goings On About Town, The New Yorker, October 2, 2006

"The singers were an accomplished group, especially the fabulous Vivica Genaux (doubling as Juno and Semele's sister Ino), who used her velvety, flexible mezzo with maximum venom."
Heidi Waleson, The Wall Street Journal, September 27, 2006

"Vivica Genaux gave Jackie/Juno (who also disguises herself as Semele's sister, Ino) a cool, ruthless glamour and a rich, peaty voice."
Justin Davidson, Newsday, September 15, 2006

"Conducted with sensitive propulsion by Antony Walker, the production united an ensemble of virtuosic singing-actors.  Vivica Genaux seconded her [Elizabeth Futral in the title role] as Ino and Juno with fresh-toned tough-cookie bravado."
Martin Bernheimer, Financial Times, September 14, 2006

"Choosing Handel's 1744 Semele to open New York City Opera's fall season would alone be justified by the presence of dazzling soprano Elizabeth Futral as its ambitious heroine, with mezzo-soprano Vivica Genaux admirably keeping pace as Semele's nemesis, Juno.

This [Futral's] kind of singing - along with Genaux's nifty double-act as Juno and Semele's sister Ino, and Robert Breault's keenly focused tenor as the presidential Jupiter - made what could have been ‘Handel for Dummies' emerge as devilishly clever and disgracefully successful."
Clive Barnes, The New York Post, September 15, 2006

"More precise vocally, if somewhat less abandoned physically, was the mezzo-soprano Vivica Genaux in the evil twin' roles of Ino, Semele's sister and Juno, Semele's rival.  The fiery second act aria ‘Hence, Iris hence away' for once did not play as a splashy star turn; instead, Genaux's crystalline coloratura suggested the icy calculation powering Juno's revenge.  The mezzo further exuded the confidence of a born stage animal coolly deadpan when her Iris aria was staged as a Kay Thompson nightclub number."
James Jorden, Gay City News, September 21-27, 2006

"Mezzo Vivica Genaux plays two roles: Ino, Semele's shy sister, and Juno, spiteful and cunning. She inhabits both roles and sings at all times with spectacular agility, stunning tone and expressivity. What a great singer Ms Genaux is!"
Robert Levine,, October 4, 2006

"Strictly speaking, the classical-music season began Sept. 13 at the New York City Opera with Handel's delicious Semele, with a superlative young cast led by the soprano Elizabeth Futral and the mezzo-soprano Vivica Genaux."
Charles Michener, The New York Observer, September 25, 2006

"Elizabeth Futral and Vivica Genaux, who open Baltimore Opera Company's season next week, provide vocal and theatrical fireworks [in NYCO's production of Handel's Semele].
Tim Smith, The Baltimore Sun, October 3, 2006


(Minnesota Opera)
“The skyrocketing young mezzo Vivica Genaux sang Arsace, Semiramide’s son.  She delivered her several arias with grand effect and was the mainstay of every scene she was in, both dramatically and vocally.”
John Koopman, Opera, June 2000

“Genaux has a fascinating voice and a bel canto technique that puts the rest of the cast in her shade.  Her Act II duet with [Brenda] Harris [as Semiramide] was a lovely blending of voices.”
Jay Furst, The Post Bulletin (Rochester, MN), April 10, 2000

“Mezzo Vivica Genaux made an intense Arsace, singing with the agility and richness of tone that recalled the young [Marilyn] Horne.”
Michael Anthony, Minneapolis Star Tribune, April 10, 2000



(Bayerische Staatsoper/Munich Festival - 2003)
“As Penelope, young mezzo sensation Vivica Genaux, while visually unconvincing as a mother of a grown young man, was deliciously sexy, and her keen theatrical skill served her well.  She handled Monteverdi's vocal latticework with a secure, awesome grace; it would be hard to imagine another currently active mezzo who could deliver such a vivid portrayal.”
Frank Cadenhead,, August 8, 2003

“Vivica Genaux was Penelope, well-known for Rossini roles.  Despite her character’s sadness and dejection, she was able to convey this in a sincere and disarming manner.  She possesses a velvety timbre which is seamless from top to bottom.”
Gianluigi Mattietti, Il Giornale della Musica, July 2003

“For Ulysses and Penelope, Rodney Gilfry and Vivica Genaux found excellent, inspired sounds: there’s a real abyss that opens up between these characters’ wild despair and ultimate happiness. The long moment of recognition and the reuniting of their voices, with which the opera comes to an almost unreal close, was wonderful.”
Gottfried Knapp, Süddesutsche Zeitung, July 15, 2003

“There was rejoicing, as well, for the gorgeous singers: Vivica Genaux’s voice offered ravishing brilliance.”
Volker Boser, Abendzeitung, July 15, 2003

“Penelope’s cunning was embodied by Vivica Genaux with equal parts dramatic and vocal intensity opposite the tonally precise, soul-damaged Ulisse of Rodney Gilfry.”
Andreas Grabner, Münchner Merkur, July 15, 2003

“Vivica Genaux, who makes the loving couple perfect in its complexity, is the kind of queen who’s worthy of struggling against fate.  To outward charm and graceful movement, she brings a voice that is distinctive, interesting, creamy and artful, as well; she phrases in a dream-like balance between affect and taste.  She and Gilfry really make a towering, human couple confronted by the gods.”
Michael B. Weiss, Landschute Zeitung, July 17, 2003

(Bayerische Staatsoper/Munich Festival - 2001)
“Vivica Genaux is an exceptionally attractive, charming Penelope.  In devout loyalty, she experiences her fate of waiting with an array of impassioned intensity: she’s capable of suffering and, all the same, being revived in a short-lived moment of joyous dancing.  Her gentle appearance (draped in the noblest of robes), her dark-toned, agile voice and her vivacious nature all fuse into an image of the Ideal.”
Gabriele Luster, Münchner Merkur, July 19, 2001

“The cast was effervescent.  The central couple of Vivica Genaux and Rodney Gilfry were sensational in their vocal richness and dramatic spontaneity.”
Francis Muzzu, Opera Now, November/December 2001

“Vivica Genaux absolutely conquers the role of Penelope with the enormous range of her brilliant mezzo.”
K.L., Berliner Morgenpost, July 20, 2001

“Indeed, the still imagery of this production leaves by far the most lasting impression:  Penelope’s waiting, in an isolated world surrounded by oppressive men, is acted with remarkable intensity (and eminent beauty) by Vivica Genaux.  Her performance ingrains itself to memory by a wealth of dramatic subtleties: in one moment she’s a shy deer, in the next a distressed lover, then, as a sensuous, young woman, she flings herself desperately into life’s pleasures only to freeze up into a stiff mask.  Her vocal performance equals the superb level of her dramatic presence: Genaux captures the audience with a strong, colorful mezzo, highly refined phrasing, exquisite diction and an appealing voice throughout the registers.”
W. Borchers, Das Opernglas, September 2001

“Vivica Genaux was utterly persuasive in the role of Penelope.”
Hannes S. Macher, Main Echo, July 20, 2001

“In her opening monologue, Penelope sings only of her restlessness and unhappiness in what must be one of the longest and darkest laments imaginable – wallowing, as it were, in gloom and despair.  Vivica Genaux sings it most beautifully and powerfully.”
Eleonore Büning, Frankfurter Allgemeine, July 19, 2001

“The singers in this production provided the greatest pleasure.  A better cast for this Ulisse can scarcely be imagined.  Vivica Genaux (Penelope) sings grippingly of her anguish, and she is a most attractive woman, easily stirring up lust and desire in men.”
Marianne Reißinger, Augsburger Zeitung, July 19, 2001

“A beautiful woman – utterly aware of her charms – has succumbed to despondency and self-neglect.  Her robes filthy, her hair in disarray.  She nearly surrenders to the incessant overtures from her parasitic suitors.  The stunning, radiant, gentle Vivica Genaux sings affirmingly with a stellar vocal line.”
Sybill Mahlke, Der Tagesspiegel, July 19, 2001

“Vivica Genaux’s Penelope was highly vivid and full of style.”
Matthias Exner, Orpheus, November 2001

“In the final scene, the gorgeous, extremely talented Vivica Genaux, with a luminous voice engenders a Madonna & Child/Pietà image, creating remarkable tension just by being silent.”
Beate Kayser, TZ, July 19, 2001

“The cast was outstanding and of the highest quality right down to the smallest role.   Alongside the strong Rodney Gilfry who performed with an energetic vigor, it was Vivica Genaux as Penelope who captured the audience by melding expressive diction and beautiful lyrical song into an entity.”
Karl Georg Berg, Die Rheinpfalz, July 21, 2001

“Penelope waits for decades for Odysseus to return.  Vivica Genaux paces slowly through the endless rooms, as if in a trance, struggling with the deprivations of her frozen love.  In her arioso monologues she realizes such sensitive expressions, faltering between her need to mourn and a yearning desire to bemoan her fate.”
Otto Paul Burkhardt, Südwestpresse, July 19, 2001

“Beginning with Vivica Genaux’s Penelope (reminiscent of the young Irene Papas), a dream cast sings and acts with beautiful vocal shading in all registers, clearly contoured characterizations and a sensitivity to a continuum of human emotions.”
Wolf-Dieter Peter, Bayern 2 (Radio), July 18, 2001

“Once again we enjoyed a luxury, first-class cast right down to the secondary roles.  They were led first and foremost by Vivica Genaux as Penelope, who possesses treasurable vocal material.”
Jörg Riedlbauer, Badisches Tagblatt, July 21, 2001

“Judging the production by its singers revealed the great wealth of talent on hand, particularly with the principle duo Rodney Gilfry/Vivica Genaux, who echoed masterfully the delicate emotional and spiritual depths of the characters.”
Volkmar Fischer, Rheinische Post, July 23, 2001

“Both Vivica Genaux and Rodney Gilfry heighten their magnetic, supple singing with a sense of urgent intimacy.”
Joachim Lange, Frankfurter Rundschau, July 20, 2001

“Penelope’s dignified, pain-filled composure couldn’t be better illustrated than by Vivica Genaux.”
Eberhard Iro, Landshuter Zeitung, July 19, 2001


Bajazet (Irene)

(Festival de Radio France et Montpellier)
“Of particular note were two mezzos, Vivica Genaux and Romina Basso, who absolutely took one’s breath away with their sublime virtuosity, vocal flexibility and tremendous presence.”
Robert Sabatier, La Gazette de Montpellier, July 28, 2006

“The diva Vivica Genaux, as Irene – what a remarkable singer – was totally able to execute the roles pyrotechnics from first note to last.”

“Genaux scored a remarkable triumph with the audience, with each of her three arias rapturously applauded, particularly the notoriously difficult ‘Qual guerriero’.”
Nicolas Pierchon,, July 31, 2006

“Vivica Genaux, as the abandoned Irene, panther-like and seductive, is a mezzo coloratura who could teach a few tricks to the most agile castrati.  How does she do it?”
Michèle Fizaine, Midi Libre, July 26, 2006

“There was rather more integrity in Vivaldi’s Bajazet, with Fabio Biondi and his Europa Galante ensemble subsuming Baroque performing principles into exquisite music-making.  Vivica Genaux was the only refugee from Biondi’s star-studded recording and she brought the house down with scattergun virtuosity.”
Francis Carlin, Financial Times, July 31, 2006

“Vivica Genaux, set off fireworks with her amazing coloratura and remarkable stage presence.  Her
astonishingly high level of facility with this music shows why she is a specialist in the Baroque repertoire.”
Gisèle Laval, L’Herault du Jour, July 26, 2006

(Wiener Konzerthaus)
“Vivica Genaux (as Irene) positively shimmered with the spiraling coloratura roulades of her bravura arias…”
Gerhard Kramer, Die Presse, January 23, 2006

“Two singers set themselves apart from the ensemble by means of their dramatic presence and vocal brilliance – Manuela Custer and Vivica Genaux.  The latter should be particularly singled out for her gleaming and acrobatic coloratura.”
Judith Schmitzberger, Kurier, January 23, 2006