9. 3. 2022


The Times
...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... 
9. 3. 2022


Art Scene in Wales
...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... 
9. 3. 2022


Wales Arts Review
...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... 
9. 3. 2022


Critics Circle
...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... 
9. 3. 2022


Midlands Music Reviews
...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... 
9. 3. 2022


Buzz Magazine
...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... 
9. 3. 2022


The Guardian
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... 
21. 2. 2022


Forumopera, Yannick Boussart
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! 
7. 2. 2020

Eliška Weissová - at the moment probably the best Czech Turandot

Petr Bleha
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... 
16. 6. 2017

Wolfgang Wagner´s swansong: Lohengrin in Prague

BACHTRACK, John Johnston
...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. 
10. 6. 2017

Katharina Wagner inszeniert plötzlich altmodisch

WELT, Manuel Brug
...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. 
10. 6. 2017

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. 
10. 6. 2017

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

...geradezu umwerfend furios mit Kraft ohne Ende war die Ortrud von Eliska Weissová. 
8. 6. 2017

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.