« …The entrance of the “Trommler” is excellent thanks to Sylvia Vadimova’s acting skills. We have here (on stage) a remarkable vocal balance and a real cohesion among the singers. »
Classiquenet.com – January 9, 2010 Kaiser von Atrlantis-Mahagonny Songsspiel
« …(Das Lied der Waldtaube is) a funeral moan full of horrifying despair which is no longer Brahms’ resignation. Sylvia Vadimova is a superb dramatic mezzo-soprano who gives us the shivers. »
Références – musicologie.org
« Excerpt from the Gurrelieder (for symphonic orchestra), this version for chamber orchestra arranged by Schönberg himself allows mezzo-soprano Sylvia Vadimova to affirm once more her (vocal) control, sensitivity and her perfect timing when shifting from plaintive whispering to the most intense cry of despair with ease and prowess. »
Das Lied der Waldtaube, signalsurbruit.blogspot.com
« … Sylvia Vadimova is excellent in the role of the Editor in decline… »
Opera The Other Side – Dérnière Nouvelles de Alsace – Strasburg
« Sylvia Vadimova (the Editor) proves once again her remarkable stage presence… »
Opera The Other Side – Anaclase.com
« It is quite rare for a vocal cast to be so thoroughly rewarding. Sylvia Vadimova, in the highly unsettling role of Tambour, offers a luxuriant timbre and remarkable acting skills, conveying a dramatic presence that is nothing short of exceptional… »
Website Anaclase.com (France)
« …Sylvia Vadimova accomplishes a real vocal and scenic performance. Her well-timbered mezzo voice is powerful and long-ranged. She doesn’t have any problems in making herself heard and understood, captivating the public during the whole show. »
Des Pétales dans la bouche (Petals in the mouth) – a one-act monolgue opera, Resmusica.com
« …A wonderful singer who gave an amazing performance. A multi-coloured, touching character, she freely moves and play on stage. A can see her sensibility, her mood changes and the energy of her personage. Sylvia Vadimova tackles both the powerful and complex opera voice and Italian traditional singing. An evocative percussion recalling far away memories supports the energy of the voice. … She embodies the paradox of the solitude of a woman, her vulnerability mixed to powerful being and wonderful energy. This opera is dedicated to Sylvia Vadimova’s voice and its possibilities and seductive amplitude, particularly the superb plasticity of her low register notes. »
Des Pétales dans la bouche (Petals in the mouth) – a one-act monolgue opera, Sitaudis.fr
« …Sylvia Vadimova’s high notes are ample and effortless. The mezzo is gifted with a beautiful lush voice and flawless German diction. With O tod, wie bitter bist du…, the most dramatic Lied of the cycle (Brahms’ Vier ernste Gesänge), emotion becomes palpable through total appropriation of the text. It is rare to see an artist so genuinely inspired.” – “In this hybrid work (Pierrot Lunaire) which stems from Lied, melodrama and theater, Sylvia Vadimova continues to amaze us. Gifted in both acting and singing, she subtly sketches out roles ranging from the mischievous child to the drunkard. At times taunting, at times grouchy, her swinging style propels us through the show, making the time whiz by. »
Website anaclase.com (France)
« .…the Quatre Mélodies en Tonalité avec date de Péremption (by Bernard Cavanna) are enhanced by the captivating timbre of mezzo Sylvia Vadimova. »
La lettre du Musicien (France)
« One is struck by the performers’ technique, and even more so by their personality: … the dramatic power of mezzo-soprano Sylvia Vadimova… . Connoisseurs will appreciate what is rare in her Monteverdi, and even in her Mozart. »
Bruno Mantovani’s CD Troisième round – Diapason N° 508 (France)
« … we shall find the same feeling of infinitesimal dosage in Sylvia Vadimova’s singing in Stravinsky’s “The cat’s lullabies”. After this piece, the young mezzo-soprano, who masters both Russian and Italian, and skilfully propagates a warm and enveloping voice timbre, runs through Bruno Mantovani’s composition “Pondered Death” with a shocking intensity… ».
Le Monde
« In Octavia’s role Sylvia Vadimova shows a good temperament, an agile and perfectly controlled voice».
L’Incoronazione di Poppea – Les affiches de Grenoble
« …an extraordinary cast (in which) we could enjoy Sylvia Vadimova’s “Octavia” in the style of the French dramaturge Racine… ».
L’Incorazione di Poppea – Le Dauphine
« Sylvia Vadimova-Marini gives a masterly rendition of the “composer’s” role; young and passionate. The voice is full and beautiful throughout the whole range ».
Ariadne auf Naxos – Opéra
« A remarkable vocal performance and extremely at her ease on stage, Sylvia Vadimova-Marini plays “Casilda’s” role».
Ruy Blas – La Meridiana
« …a host of excellent singers-actors made a real piece of jewellery out of this Gianni Schicchi. The extremely expressive Sylvia Vadimova (Zita) deserves a particular mention ».
Gianni Schicchi, Libertà
« …A wonderful singer who gave an amazing performance. A multi-coloured, touching character, she freely moves and play on stage. A can see her sensibility, her mood changes and the energy of her personage. Sylvia Vadimova tackles both the powerful and complex opera voice and Italian traditional singing. An evocative percussion recalling far away memories supports the energy of the voice. … She embodies the paradox of the solitude of a woman, her vulnerability mixed to powerful being and wonderful energy. This opera is dedicated to Sylvia Vadimova’s voice and its possibilities and seductive amplitude, particularly the superb plasticity of her low register notes. »
Des Pétales dans la bouche (Petals in the mouth) – a one-act monolgue opera, Sitaudis.fr May2011
« …Sylvia Vadimova accomplishes a real vocal and scenic performance. Her well-timbered mezzo voice is powerful and long-ranged. She doesn’t have any problems in making herself heard and understood, captivating the public during the whole show. »
Des Pétales dans la bouche (Petals in the mouth) – a one-act monolgue opera, Resmusica.com
« …The entrance of the “Trommler” is excellent thanks to Sylvia Vadimova’s acting skills. We have here (on stage) a remarkable vocal balance and a real cohesion among the singers. »
Classiquenet.com – January 9, 2010 Kaiser von Atrlantis-Mahagonny Songsspiel
« …(Das Lied der Waldtaube is) a funeral moan full of horrifying despair which is no longer Brahms’ resignation. Sylvia Vadimova is a superb dramatic mezzo-soprano who gives us the shivers. »
Références – www.musicologie.org, December 9, 2009
« Excerpt from the Gurrelieder (for symphonic orchestra), this version for chamber orchestra arranged by Schönberg himself allows mezzo-soprano Sylvia Vadimova to affirm once more her (vocal) control, sensitivity and her perfect timing when shifting from plaintive whispering to the most intense cry of despair with ease and prowess. »
Das Lied der Waldtaube, signalsurbruit.blogspot.com, 14 November 2009
« …Sylvia Vadimova’s posture and movements merge with her voice. The extraordinary way she sings and moves in order to impart what needs to be said and outlined in the music is uniquely her own. This is what characterizes Sylvia Vadimova, whose voice seems to be without limits for how it surpasses the regular mezzo-soprano range and becomes part of the composer’s and author’s communicative intents, whether historical or contemporary. »
Musicologist Luigi Pestalozza – Milan, May 14, 2009
« Sylvia Vadimova: a Leïla with great vocal intensity. »
Opera « Les Sacrifiées », Le Monde, 15 January 2008
« …crisp and dazzling vocal lines… and the text fully intelligible. Sylvia Vadimova: a generous Leila. »
Opera « Les Sacrifiées », La Croix, 17 Janurary 2008
« … we won’t forget Sylvia Vadimova’s gorgeous voice – sparkling with élan and commitment. »
Opera « Les Sacrifiées », La Lettre du Musicien, February 2008
« The trio of female singers is very convincing. Despite the challenge for untrained ears of following the work vocally. »
Opera « Les Sacrifiées », La Tribune, 18 January 2008
« Perfect casting for the singers, especially the three women. »
Opera « Les Sacrifiées », Classica, Marzo 2008
« …due to the singers’ excellent work on diction… the language obstacle has been surpassed. »
Opera « Les Sacrifiées », Le Monde de la Musique, Mars 2008
« Sylvia Vadimova : radiant. »
Opera « Les Sacrifiées », ConcertoNet.com, 12 January 2008
« The vocal cast measures up to such a project. (…) Also Sylvia Vadimova is excellent in the role of the Editor in decline… »
Opera The Other Side – Dérnière Nouvelles de Alsace – Strasburg – 26-09-06
« Sylvia Vadimova (the Editor) proves once again her remarkable stage presence… »
Opera The Other Side – Anaclase.com – 27-09-06
« An opera of an unusual strength. (…) Sylvia Vadimova is excellent in the Editor’s role… »
Opera The Other Side – La croix – 26-09-06
« Sylvia Vadimova an “Editor” not without charm. »
Opera The Other Side – Les Echos – 28-09-06
« …we’re bound to praise Sylvia Vadimova’s vocal and acting qualities in the role of the Editor… »
Opera The Other Side – ResMusica.com – 30-09-06
« The cast is remarkable and strikes by its extraordinary involvement. Sylvia Vadimova is quite impressive in the role of the Editor. »
Opera The Other Side – Forumopera.com – 06-10-06
« Under the baton of Graziella Contratto, the singers …. are all top-notch and display outstanding teamwork. »
Opera Magazine (France) – March 2006
« It is quite rare for a vocal cast to be so thoroughly rewarding. Sylvia Vadimova, in the highly unsettling role of Tambour, offers a luxuriant timbre and remarkable acting skills, conveying a dramatic presence that is nothing short of exceptional… »
Website Anaclase.com (France) – 19-01-06
« Astonishing and dazzling. The cast also happens to be homogeneous (…). A triumphant performance of a work that is rather tricky to grasp. An absolute must. »
Le Figaro (France), 17-01-06
« Enthralling music that reaches breathtaking peaks of emotion and beauty. The singers make up an ideal vocal quintet of dramatic truth and sensitivity… »
Le Progres (France), 16-01-06
« .…the Quatre Mélodies en Tonalité avec date de Péremption (by Bernard Cavanna) are enhanced by the captivating timbre of mezzo Sylvia Vadimova. »
La lettre du Musicien (France), January 2005
« …and the first French performance of Tempo e tempi, composed by Elliott Carter in 1998-99 for voice, oboe, clarinet, violin and cello. Sylvia Vadimova affirms Carter’s lyricism thanks to the richness of her timbre, a perfectly controlled vocal line, and an evident expressive interpretation which perfectly suited Montale’s poetry. »
Website Anaclase.com (France) – 11-06-05
« … in the serious and poignant Quatre Mélodies en Tonalité avec date de Péremption (by Bernard Cavanna), the deceptive tonal simplicity was superbly enacted by mezzo-soprano Sylvia Vadimova. »
La lettre du Musicien (France), May 4th 2004, second edition
« …Sylvia Vadimova’s high notes are ample and effortless. The mezzo is gifted with a beautiful lush voice and flawless German diction. With O tod, wie bitter bist du…, the most dramatic Lied of the cycle (Brahms’ Vier ernste Gesänge), emotion becomes palpable through total appropriation of the text. It is rare to see an artist so genuinely inspired.” – “In this hybrid work (Pierrot Lunaire) which stems from Lied, melodrama and theater, Sylvia Vadimova continues to amaze us. Gifted in both acting and singing, she subtly sketches out roles ranging from the mischievous child to the drunkard. At times taunting, at times grouchy, her swinging style propels us through the show, making the time whiz by. »
Website anaclase.com (France) – 30-11-04
« Sylvia Vadimova lives between France and Russia, where she has spent years delving into works forgotten or unknown in the West: Russian chamber songs, or more specifically, works composed in the Russian language over the past 150 years. Her singing serves as a research tool beyond musical pleasure. At the piano, Alberto Galletti surpasses his role of accompanist, complementing Vadimova in style and musicality, highlighting and rendering the shape and meaning of the performed works. Utterly in sync with each other, the musicians convey their intrinsic cultures, worlds and outlooks. They are a duo in the true sense of the word. »
Luigi Pestalozza – Musica ‘900 (Italy), December 2003
« One is struck by the performers’ technique, and even more so by their personality: … the dramatic power of mezzo-soprano Sylvia Vadimova… . Connoisseurs will appreciate what is rare in her Monteverdi, and even in her Mozart. »
Bruno Mantovani’s CD Troisième round – Diapason N° 508 (France) November 2003
« At both soirées, the fabulous mezzo-soprano Sylvia Vadimova offered us first-rate chamber music with Ravel (Histoires Naturelles and Trois Chansons Madécasses), Poulenc (Le Bestiaire) and Debussy (Trois Chansons de Bilitis). At the piano, the marvelous Jean-Pierre Collot (accompanied by flute and cello for the Chansons Madécasses). »
Musica (Brazil) September 2003
« The TM+ provides Laurent Cuniot with a valuable tool for bringing his works to light. At Musica, he premiered “Spring and all’”, a song cycle based on poems by William Carlos Williams, superbly performed by the mezzo Sylvia Vadimova. »
Dernières Nouvelles d’Alsace, October 7 2003
« …Sylvia Vadimova surmounts with grace “Damira’s” virtuoso role’s traps… »
La verità in cimento – Le Monde, 15 janvier 2002
« Six singers move into the opera’s well organized acting frame with total involvement… Leads the stage the role of “Damira”, interpreted by the mezzo soprano Sylvia Vadimova. »
La Verità in cimento – Le Figaro, 21 janvier 2002
« The mezzo soprano Sylvia Vadimova, the only real company’s actress, flourishes in Christian Gagneron’s “very mode” stage direction. »
La Verità in cimento – Diapason, avril 2002
« … we shall find the same feeling of infinitesimal dosage in Sylvia Vadimova’s singing in Stravinsky’s “The cat’s lullabies”. After this piece, the young mezzo-soprano, who masters both Russian and Italian, and skilfully propagates a warm and enveloping voice timbre, runs through Bruno Mantovani’s composition “Pondered Death” with a shocking intensity… ».
Le Monde, 1 April 2000
« In Octavia’s role Sylvia Vadimova shows a good temperament, an agile and perfectly controlled voice».
L’Incoronazione di Poppea – Les affiches de Grenoble, 26 February1999
« …an extraordinary cast (in which) we could enjoy Sylvia Vadimova’s “Octavia” in the style of the French dramaturge Racine… ».
L’Incorazione di Poppea – Le Dauphine 25 February 1999
« …from the excellent Gianni Schicchi’s cast we’re bound to mention Sylvia Vadimova’s “biting” Zita’s role ».
La Repubblica, July 1998
« …definitely more amusing (than the other production) thanks to the excellent Gianni Schicchi’s cast, we revived thanks to the liveliness (or: vivacity) of the action ».
Il Tirreno, July 1998
« …a host of excellent singers-actors made a real piece of jewellery out of this Gianni Schicchi. The extremely expressive Sylvia Vadimova (Zita) deserves a particular mention ».
Libertà , July 1998
« A brilliant and permanently in ferment (commotion?) cast, as required by the libretto, gave life to this one-act opera dedicated to the Donati family’s mockery, starting from the perfect and expressive “Zita” entrusted to Sylvia Vadimova-Marini ».
La Nazione, July 1998
« …a welcomed return (of Filippo Marchetti’s Ruy Blas opera). A good production… with the sparkling Sylvia Vadimova-Marini, endowed with a beautiful and very agile voice… ».
Corriere Adriatico, September 1998
« Vocally very good and extremely at her ease on stage, Sylvia Vadimova-Marini plays “Casilda’s” role».
Ruy Blas – La Meridiana, 3 October 1998
« …two pianists and singers that gave real life to this concert, in particular Sylvia Vadimova-Marini, alto endowed with a wide range, warm timbre and a precise vocal line ».
Petite Messe Solennelle – Ouest France, 15 Apri 1997
« Sylvia Vadimova-Marini gives a masterly rendition of the “composer’s” role; young and passionate. The voice is full and beautiful throughout the whole range ».
Ariadne auf Naxos – Opéra, March 1997
« An impressive « composer », lively and pungent at the same time ».
Ariadne auf Naxos – Ouest France, 25 January 1997
« A young mezzo-soprano, Sylvia Vadimova-Marini, endowed with a round and powerful vocal timbre and a wide range ».
Airs de Mozart – La lettre du musicien, November 1995
« …the clear (or: legible) and melodic vocal lines emphasize Sylvia Vadimova’s qualities and her beautiful dark timbre ».
Fleur d’Albâtre – La lettre du musicien, May 1995