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New York Magazine

“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.”

Opera News

“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.”

The New York Times

“Dalila is like Carmen: There are so many clichés,’” Ms. Garanca said in her dressing room. “’Somehow Dalila is seen to be a calculating bitch who has just one goal, to destroy Samson. But I think that she is a very normal woman, who also has feelings.”


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

Die Welt

“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.”


“WQXR’s Annie Bergen hosts and evening of performance and conversation around Elīna’s performances as Dalila at the Metropolitan Opera and concert at Carnegie Hall.”

The Toronto Star

“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.”

Opera Wire

“Elīna Garanča is, for many, THE mezzo-soprano of this generation, with her movie star looks and acting chops to match. She has performed at all the major theatres, showcased an extensive array of repertoire, and recorded award-winning albums.”

Associated Press

“The music becomes so innocent and pure and transparently light,” the Latvian mezzo-soprano said in an interview. “She really expresses how wonderful it would be if there were no religion, no power, no struggles, so they could just be two people who connect together.”

The New York Times

“New York Times slideshow behind the scenes at the Metropolitan Opera in the lead-up to Roberto Devereux, featuring Elīna.”