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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.
Heinz-Jürgen Staszak in the Ostsee-Zeitung, 1 February 2012
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.
Marieluise Jeitschko in the Die Deutsche Bühne (The German Stage), 6 December 2011
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.
Horst Dichanz in the Opernnetz.de; The Magazine for Music Theatre and Opera - 12/2011
[…] Hats off to the soloists Christine Graham, Lucie Ceralová, Youn-Seong Shim and Matteo Suk.
Christoph Schulte im Walde in the Westfälische Nachrichten, 5 December 2011
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).
Georg Rudiger in the Badische Zeitung, 16 September 2011
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. [...]
Michael Baumgartl in the Norddeutsche Neueste Nachrichten, 9 March 2010
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.
Michael Baumgartl in the Norddeutsche Neueste Nachrichten, 2/3 January 2010
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. […]
Karsten Blüthgen in the Sächsische Zeitung, 17 December 2009
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.
Michael Baumgartl in the Norddeutsche Neueste Nachrichten, 16 November 2009
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 voice quality!
Franz R. Stuke in the Opernnetz.de; The Magazine for Music Theatre and Opera 2009
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! [...]
Opernnetz.de; The Magazine for Music Theatre and Opera 2009
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!
Dietrich Pätzold in the Ostsee Zeitung, 14 April 2009
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.
Prof. Heinz-Jürgen Staszak in the Norddeutsche Neueste Nachrichten, 14 April 2009
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.
Dietrich Pätzold in the Ostsee Zeitung, 26 January 2009
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 exaggerated pathos.
Siegener Zeitung, 11 December 2008
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. [...]
Dietrich Pätzold in the Ostsee Zeitung, 22 September 2008
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. [...]
Hans Peter Altmann in the Sächsische Zeitung, 10 December 2007
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.
Sudetendeutsche Zeitung, 17 August 2007
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 girlfriend. [...]
Trierischer Volksfreund, 22 June 2007
Bohuslav Martinů, Three Wishes, or the Vicissitudes of Life at the Volkstheater in Rostock
The performers on stage could not have interacted more harmoniously. [...] Lucie Ceralová’s Fairy Zero and Lilian Nevermore [...] poured forth passionately warm, fresh tone. [...]
S. Martens in Das Opernglas, March 2007
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.
M. Baumgartl in the Ostsee Zeitung, 22 January 2007
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.
Frank Schlösser on the front page of the Rostocker Sonntag, 7 January 2007
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.
Georg Pepl in the Hessische/Niedersächsische Allgemeine, 18 March 2007
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.
Jens Daniel Schubert in the Sächsische Zeitung, 26 September 2005
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 work.
Peter Zacher in the Dresdner Neueste Nachrichten, 30 March 2005
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 Dvořák.
Wolfgang Zimmermann in the Sächsische Zeitung, April 2004
“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 projected mezzo-soprano.
Sächsische Zeitung, November 2000