Schwerin State Theatre - J. S. Bach: BWV 60 „O Ewigkeit, du Donnerwort!“ - Conductor: Matthias Foremny
The Czech guest - alto singer Lucie Ceralová was the best of the three vocal soloists, with beautiful changes of expression.
Münster Theater - Eichberg/V. Nicolaou/S. Rohloff/N. Klein - World Premiere of „Timeshift… or Time is a Bird“
Sopranist Christine Graham acts the echo clear as a bell compared to the warm Kantilene of mezzo Lucie Ceralová at the stage steps. […] So, the audience is taken into one of the probably most fascinating new musical theatre productions in Germany in an absolutely discreet way. "Timeshift" is a masterpiece of high poetic aesthetics.
The four protagonists do not play roles. They play arbitrarily displaceable characters, in
shadows doubled, alienated […]. High demands are put on their singing quality. They
can rarely present a melodic phrase. Nonetheless, Christine Graham convinces with her
clear soprano, Lucie Ceralová with a beautiful alto voice, Youn-Seong Shim as tenor and
Matteo Suk with an almost deep baritone. […] They all master tonal demands in remarkable
discipline under the direction of conductor Susanne Blumenthal who brings them together in the performance.
[…] Hats off to the soloists Christine Graham, Lucie Ceralová, Youn-Seong Shim and Matteo Suk.
Freiburg - The "Czech Night" at the Nabering Concerts
Reciter Gerd Heinz recites Kafka´s short stories […] in familiar worlds which hold surprises,
unsettle and also amuse, such as in the final pointe of "The Spinner". In addition, you can
comfortably lean back in your seat at Josef Suk´s late romantic eligy op. 23 played with a
warm tone. You can also fall into melancholia with songs of Bohuslav Martinu and Joseph
Bohuslav Foerster sensitively sung by Lucie Ceralová (Piano: Lambert Bumiller).
Alma Mahler, Songs; Gustav Mahler, Songs of a Wayfarer
The Czech mezzo-soprano Lucie Ceralová submerged them (songs by Alma Mahler) with her
dark, velvet timbre into a romantic twilight. But she was able to show her singing capacities
in full only later with four Songs of a Wayfarer by Alma´s husband Gustav Mahler. She
conveyed the grief of lost love with a lot of feeling. [...]
Rostock - Ludwig v. Beethoven, Symphony No.9 d-moll op. 125 - Conductor: Nicolas Milton
[…] alongside, Lucie Ceralová sang with a mezzo-soprano voice of noble, velvety colour.
Dresden - J. Haydn, Harmony Mass - Conductor: Ekkehard Klemm
[…] Klemm himself adopted Haydn´s rage-sparking "Harmony Mass" with precision and
temper. Thereby, the solo of Johanna Will (soprano) and Lucie Ceralová (alto) displayed the
most wonderful beauty. […]
Rostock - G. Kreisler, World Premiere of "The Aquarium"
[…] At the end of the performance, Camilla, because she always arrives late, is played by
Lucie Ceralová, who sings with a beautifully dark-timbral mezzo while lasciviously stalking
across the stage in alluring calmness. […] At the end, there was thunderous applause for each
performer. There were endless standing ovations for the author Georg Kreisler.
G. Verdi, La Traviata at the Volkstheater in Rostock
[…] Lucie Ceralová makes use of the opportunity offered by the director to play an
ambivalent and animating Flora and comes with a sensual interpretation and a refreshing
Kaija Saariaho, L´Amour de loin at the Volkstheater in Rostock
Lucie Ceralová is the androgynous phantasmagorical “Pilgrim” – an expressive
mezzo soprano with a conquering capacity for differentiating voice shades – an admirable
role portrayal! [...]
As the Pilgrim, Lucie Ceralová appears in front of Jaufré dressed as a man and in front of
Clémence as a woman. Is it only an impression that she also adds to her mature mezzo-
soprano voice here a male, there a female timbre? In any case, her virtuosity is extraordinary!
Premiere – a big success
The psychological-semiotic relationship network from only three characters becomes perfect
in the artistic and musical performance of the singers: an honoured guest, the baritone
Andreas Schmidt of the Deutsche Oper Berlin as Jaufré, mastering the melodic and recitative
components of his part, and then – perhaps even more impressive – the two young singers of
the ensemble, Jamila Raimbekova as Clemence [!] and Lucie Ceralová as the Pilgrim, both
confidently following the score and fully exploiting the tone colour spectrum of the music.
Jacques Offenfach, Orpheus in the Underworld at the Volkstheater in Rostock
And Lucie Ceralová as Cupido, Nora Kaminiczny as Venus or Jamila Raimbekova as Diana
let hear and see that the Rostock ensemble can offer a number of divine ladies.
G. F. Händel, Messias in the Betzdorf an der Sieg Protestant Church, Südwestfalen
Philharmonic Orchestra, Siegen Philharmonic Choir
[...] In many respects excellent were all soloists of the evening, for example the mezzo-
soprano Lucie Ceralova, [...] born in Liberec, who obtained many prestigious European study
grants, became a young ensemble member of the Rostock Volkstheater and performed in
Betzdorf the well-known aria “O du, die Wonne verkündet in Zion” beautifully and without
G. Bizet, Carmen at the Volkstheater in Rostock
[...] Lucie Ceralova, in the role of the gypsy girl Mercedes, gives us already a clue as to which
dark facets of her voice she will show as the other Carmen. [...]
J. S. Bach, Christmas Oratorio in the Marienkirche in Pirna (Germany)
[...] in the artistic interpretation by Ms Lucie Ceralová, her cultivated voice and performance
form a complete unity. [...]
First performance of the “Gegenfeuer” oratorio by Andreas Mehringer
[...] The oratorio was performed by Lucie Ceralová (Liberec, Czech Republic), mezzo-
soprano, and Reto Raphael Rosin (Passau, Germany), tenor. Both soloists gave an excellent
performance. Especially Ms Ceralová stood out with her great voice in the seventh scene.
Merzig Summer Festival 2007
[...] The person in the centre of the action is [...] Dr. Falke, a talented plotter and schemer who
skillfully manipulates everything. Orlofsky (Lucie Ceralová, a fine voice) is his disguised
Bohuslav Martinů, Three Wishes, or the Vicissitudes of Life at the Volkstheater in
The performers on stage could not have interacted more harmoniously. [...] Lucie Ceralová’s
Fairy Zero and Lilian Nevermore [...] poured forth passionately warm, fresh tone. [...]
Much applause and many ‘bravos’ for Bohuslav Martinů’s Three Wishes at the Volkstheater
in Rostock [...] Lucie Ceralová as the Fairy and Bonita Hyman as the corpulent black woman
captivated the audience with their very different temperaments and personas.
Lucie Ceralová [...] in a double role. From 20 January 2007 the attractive Czech singer will
be appearing on the stage of the Grosses Haus as Lucie [!] Nevermore and Fairy Zero in
Bohuslav Martinů’s film opera.
Song recital with Katharina Persicke (soprano) and Eva Šilarová (piano)
The artists’ Mozart and Haydn performances were rewarded with much applause. [...] Lucie
Ceralová’s mezzo-soprano was aflame with passion.
Modest Musorgsky, Boris Godunov, a collaboration between the theatres of Görlitz and
Liberec (Czech Republic)
The many solo parts were sung by singers from both theatres; on the first night we heard
a string, well-versed ensemble with many fine voices. [...] Especially noteworthy was the
promising young Lucie Ceralová in the role of Fjodor.
Mozart, La clemenza di Tito, Kleines Haus, Dresden
As Sesto, Lucie Ceralová showed exceptional musical intelligence and a powerful voice with
a beautiful dark timbre. Her scene with Tito in Act II was the dramatic climax of the whole
Song recital, Baroque palace, Wachau (Germany)
Dvořák’s melodies ran the gamut of human emotion. They were imbued with a deeply
melancholic romanticism, they burst forth with a sparkling temperament, they told of joyous
exhilaration and they did not neglect the pain of tragedy. Lucie Ceralová not only filled the
baroque hall of the Old Palace marvellously with her clear, beautiful voice; she also proved a
sympathetic presenter, who provided her audience with a wealth of information on Antonín
“Tschechische Kulturtage” in Dresden and the Elbe/Labe region
Martinů’s folksongs are attractive, with a basically warm mood that leaves much scope for
temperamental interpretation. Lucie Ceralová took advantage of this with her marvellously