Press

  • Not yet forty and now in the second decade of her career, the Latvian mezzo has established herself as one of the most gratifying performers on the opera stage today, leaving an indelible stamp on characters ranging from Carmen and Charlotte to Sesto in Clemenza, bel canto heroines such as Angelina, Rosina and Giovanna Seymour to Strauss’s Octavian. Garanča’s talents would make her a star in any century, yet her voice and movie-star good looks seem tailor-made for our Live in HD era. But perhaps the mezzo’s greatest strength is her ability to render a cantabile line of such overwhelming beauty as to make time stop.… Elīna Garanča has already secured her place in opera history, and she may just be getting started.

    Opera News

  • Ms. Garanca’s singing from her first phrases defined what is meant by “Met quality,” abundant, sumptuous tone and generous phrasing. This is an artist we need to hear in the great roles of her Fach: Donizetti’s Favorite, for instance, or Eboli in Verdi’s Don Carlos.

    The Observer

  • A singer surely destined to join the greats… There’s nothing unfinished about her.

    Gramophone

  • Garanča easily projects virility and positions the notes, whatever their register, like a darts player hitting the bull’s-eye.

    The Times

  • If [others were] just a hair’s breadth away from perfection, Elīna Garanča hit the mark dead on target.

    Opera News

  • Elīna Garanča’s voice is one-in-a-million, allying grace and power to a commanding authority.

    The Independent

  • [Garanča] sings with rich sound, an unerring feel for the nuance and subtext of a phrase, and alluring sensuality. The clarity in her singing makes this Carmen seem intelligent and wily.

    The New York Times

  • Garanča, a tall, strikingly beautiful and fast-rising star from Latvia, sings with alluring tone and captures the gypsy Carmen’s sexual swagger and self-confidence. Under Eyre’s shrewd direction, she dispenses with much of the tired, traditional stage action associated with the character.

    Associated Press

  • It’s a marvel to see the virtuosic ease with which Elīna Garanča almost casually sails over the hurdles of the material: Never at the limit, and always smiling as she expertly sings, as if it were nothing.

    Der Spiegel

  • Elīna Garanča was a consistent pleasure to watch and hear. Vocally she projected the part with well-studied ease, using her smoky low notes and her robust middle to full effect. And the moment she set foot onstage, there was no way to look away from her Carmen.

    Opera News

  • Garanča’s voice has been described as “creamy,” “silken,” and “lustrous” (her chest register is superbly produced) but it also has a surprisingly rounded maturity. What sets her apart, however, is the unteachable ability to send shivers down the spine and make grown men salivate.

    Gramophone

  • She dominates in every scene.… Here’s one Carmen whose ability to reduce strong men to jelly is totally credible. But she also commands a voice that’s rich and vibrant from lowest note to highest, and capable of hurling out a contemptuous challenge with blazing power.

    The Times

  • It’s this versatility that makes Elīna’s voice so special and impossible to pigeonhole – she has the richness and depth of sound of a mezzo-soprano but also possesses all the top notes and an ability to “float” her voice that is the envy of many a bona fide soprano.

    Classic FM

  • Garanča has the edge. Her mezzo is stunningly impressive. Rising effortlessly to notes that would stretch many a soprano, it descends evenly throughout the compass, avoiding any unseemly changes of register.

    The Evening Standard

  • Latvian mezzo Elīna Garanča has now won the hearts of the Viennese, and it would be hard to imagine a more perfect creation. Vocally, everything one could want is there in abundance. Absolute beauty of tone, flawless technique, passion and sensitivity to her colleagues are but a few hallmarks of this coltish, magnificent performance.

    Opera News

  • The Latvian mezzo-soprano Elīna Garanča is the most convincing Carmen in a long time, and not just because of the way she hikes her skirts to stroke a naked thigh.… Today, we can read [Carmen] as a guerrilla in the gender wars, a martyr to personal freedom, a narcissistic virago, or just a self-destructive vamp. Garanča chooses all of the above, mixing stereotypes with a dab of nonchalant cruelty. Onstage, though, musical choices merge with an acting strategy: Garanča delivers a hot performance of a cold character, a Carmen who doesn’t seduce Don José so much as kick him into her world and then carelessly toss him out. She is a virtuoso of indifference.

    New York Magazine

  • Garanča lets us forget her predecessors in the role in a heartbeat. It is only her — and the role fits like a glove. Probably the best interpreter of the role since the legendary days of the young Agnes Baltsa.

    Die Welt

  • It’s been a long time since we’ve experienced a young artist who takes such great delight in singing.

    Sonntagszeitung

  • After seeing Elīna Garanča as Carmen, it truly seems as if she has staked a claim on the role for years to come. Not only is her vocal delivery supple, yet powerful, but her sensuality, physical freedom and sense of woman-as-destroyer are unmatched.

    The Toronto Star