Press | Eliška Weissová

A Mesmerizing Performance of Dvorák´s

Eliška Weissová´s portrayal of the Foreign Princess was equally compelling, bringing a seductive and mysterious allure to the stage. Weissová´s rich soprano voice conveyed the Princess´s commanding presence and added complexity to the opera´s romantic tensions. Eliška Weissová brings a wealth of experience and artistry to her roles on the opera stage. Trained at the Brno Conservatory and Prague Music Academy, Weissová has garnered acclaim for her dramatic soprano voice and nuanced characterizations. From her debut as Giorgetta in "Il tabarro" to acclaimed performances in Wagnerian roles, Weissová continues to captivate audiences with her powerful performances and emotional depth.... 

...Overall, this production of "Rusalka" at the Vienna State Opera was a triumph, thanks in large part to the stellar performances of Corinne Winters and Eliška Weissová... 

Bachtrack

Eliška Weissová ist in dieser Serie erstmals an der Wiener Staatsoper zu hören und gibt eine mächtige Küsterin mit großer vokaler Kraft und darstellerischer Wucht, womit sie einen interessanten Kontrapunkt zur mädchenhaften Leichtigkeit und Agilität ihrer Ziehtochter setzt.  

Jenůfa

Eliška Weissová spielt diese Partie. In der Wiederaufnahme von Leos Janaceks Jenůfa, eines der packendsten und genialsten Musikdramen des 20. Jahrhunderts, an der Wiener Staatsoper - die Premiere war im März 2002 - ist sie eine atemberaubende, intensive Küsterin. Sie singt sie kühl und scharf wie ein Diamant, hochdramatisch in ihren Ausbrüchen und mit wortdeutlichster Artikulation, weiß aber auch im letzten Akt die anderen Fassetten dieser Figur hervorzukehren. 

Jenufa

...Janacek prefaces her pivotal monologue with powerfulsilence; we are moving into anotherrealm where the Kostelnicka’s logicis as painfully clear as her mind is scarily unsound. And it is thanks to Eliska Weissova’scompelling Kostelnicka that this naturalistic production comes together. Stepping in for an indisposed Angela Denoke, she galvanises an initially lukewarm performance, embracing the emotionalcomplexity of a character whose fierce maternal love results in a true evil. This is, after all, really the Kostelnicka’s opera. Gabriela Preissova’s original play was titled Her Stepdaughter... 

Jenufa

...and perhaps even moreso her stepmother Kostelnička, a tragic figure of almost titanic standing, delivered powerfully by Eliška Weissová, whose deeply understanding take on the character channel both her stern outer surface and her deeper torment. Sidelined to an extent by the writing itself, the male characters are almost functions of the story of those two central female figures... 

Jenufa

...Eliška Weissová. It’s a part there for the taking by any singer on the ball, and understudy Weissová was just that. She cuts an almost menacing figure; not even in the harrowing closing scenes, where she admits to having drowned Jenůfa’s baby son beneath the winter ice, does her voice modulate to accommodate a tad of sympathy, from the audience no less than from the characters surrounding her; the point being that inside she knows both that she has done something wrong and that it was what she had to do. That’s quite a feat. Of all the principals it is she who, not unexpectedly, is at home with the composer’s ejaculatory idiom through which lyricism glides but manifests itself in such an original way... 

Jenufa

...Eliška Weissová, as the latter, has a show-stealer of a role and does not pass up the opportunity. A Lady Macbeth whose victim is her own step-grandson, Weissová is burdened and intermittently unhinged by her guilt in mad scenes undreamt of by Donizetti... 

Jenufa

...But the triumph of the evening was Eliska Weissova´s as the Kostelnicka, Jenufa´s sacristan stepmother, who, to preserve her own status, drowns Jenufa´s baby. This is a huge part, demanding such a command of range and timbre, and Weissova delivered the goods magnificently. The final vignette, a WNO inspiration, will never leave the memory, though I seem to remember it slightly longer in previous performances... 

Jenufa

...The evening perhaps belongs to Eliša Weissová as Kostelnička, replacing Angela Denoke. This wicked stepmother role is remarkable, notably for its stone-cold heartlessness and later manic bouts of guilt. We are treated to more authentic musicality, Weissová making a fine theatrical presence with this baddie who perhaps does have a heart after all. Much screaming, some words are spoken and an all-around sense of woe linger here in her playing... 

Jenufa

Eliška Weissová’s Kostelnička was a formidable figure, her fine soprano blazing first with the certainty of her conviction that she had Jenůfa’s wellbeing at heart, and then with the bitter remorse on admission of her crime... 

Turandot

Eliska Weisova, previously a mezzo, has become a dramatic soprano. We understand why: the volume takes your breath away, the solid and darted treble allows her to embody a terrifying princess . Whatever, it´s really effective! 

Eliška Weissová - at the moment probably the best Czech Turandot

Eliška Weissová - at the moment probably the best Czech Turandot ... To all this could not even exist more contrast than the famously, but really famously sung the main character. I do not remember the last time I heard Turandot in this region perfectly sung. If it was worth going to Prague for something, it was Eliška Weissová. For me a huge surprise... 

Eliška Weissová has the role of thoughtfully singing and expressive expression

Eliška Weissová has the role of thoughtfully singing and expressive expression, in addition to dramatic heights, she also performed quiet, tenderly boiling positions, in which her Turandot transforms into a loving woman. And to the pros of her performance must be added a clear articulation ..... Thursday´s debutante Weiss received a deservedly stormy applause in Turandot from the sold-out auditorium of the historic building of the National Theater. 

Weiss´ voice sounded impressive yesterday

Weiss´ voice sounded impressive yesterday in the historic ND building with the appropriate dramatic expression in moments of cold inaccessibility and carried just as well in moments of quiet lyrical surfaces. 

Opera: Lohengrin i Prag

...Eliška Weissová was a wonderful Ortrud! High, wild, hateful both in his expression, in his gesture and in his voice showing teeth and striking sparks. A terrible opponent! Already from her tones bluntly in the first act, you realize that Elsa and her faith do not have a chance over the blood-red paganism. No chance at all. The highlight was probably her final rage where it is released uncontrollably... 

Lohengrin, staged by Wolfgang Wagner, from the Prague Opera

The big surprise of the cast is Eliška Weissová as Ortrud, with a beautiful voice and amazing high notes. Her nice middle register, sung dramatically sometimes reminds the legendary Waltraud Meier. A great performer to follow. 

Wolfgang Wagner´s swansong: Lohengrin in Prague

...With her powerhouse dramatic mezzo Eliška Weissová circled her husband and Elsa like prey. In "Entweihte Götter" and her final "Fahr heim" she let fly with chandelier rattling force. Clad in sulphurous yellow with beaded jet shoulder pads she looked well able to vanquish Lohengrin in single combat with the swish of her cloak. 

Katharina Wagner inszeniert plötzlich altmodisch

...Aus dem soliden Restensemble ragte Eliška Weissová als Ortrud fulminant heraus, nicht nur als zitronengelbe, paillettengiftgrüne, böse Möchtegern-Königin. Ihr mit pfeilgeraden Spitzentönen schallendes „Entweihte Götter“ gab dieser Begegnung mit der Opernvergangenheit wenigstens für Momente etwas aufregend Heutiges. 

Der Schwan ist mehr als nur eine Projektion

...Eliška Weissová ist ein Turbo-Booster von Ortrud, eine Stimme von höchster Kontrolle im dramatischen Feuer, jede Attacke gut gezielt und immer ein Treffer. 

Wagner in Prag. Opernbesuch im Museum: „Papa hätt’s gefallen!“

...geradezu umwerfend furios mit Kraft ohne Ende war die Ortrud von Eliska Weissová. 

Prag Lohengrin

Zum Sternstunde geriert der packende zweite Aufzug, beginnen mit der aufwühlenden Szene zwischen Ortrud und Telramund.

Mit der hochdramatisch fulminant auftrumpfenden Ortrud /Eliska Weissova/ und dem stimmgewaltigen Telramund /Olafur Sigurdarson/ stande erste Kräfte für diese im Handlungsstrang so wichtigen Partien zu Gebote.