PRESS

Le Comte Ory, Prýgl and Schnittke at the Prague Spring in Opera panorama Helena Havlíková

(...) The first premiere was dominated by Kateřina Kněžíková with technically well mastered part, with her balanced round soprano and charm. The part of Countess Adèle "fits" her perfectly. (...)

HELENA HAVLÍKOVÁ

lidovky.cz

31. 5. 2017

Opera comedy Le Comte Ory under the guidance of the choreographer and the dancer was admirable

(...) The first premiere on May 26th featured all excellent singers. They were led by Kateřina Kněžíková as the main female character Countess Adèle. Her voice matures into a fullness of sound, she coped well with the Rossini coloratura. In addition, she played her role absolutely naturally and with pleasure - with all the details that are typical for a woman´s mind.  (...)

PETR VEBER

mestohudby.cz

28. 5. 2017

Dvořák Requiem, BBC Symphony Chorus and Orchestra, Bělohlávek, Barbican

New Year's concert of the Philharmonic Ostrava in the wild rhythm of Carmina Burana's drinking and love songs.

 

Amor volat undique starts with a children’s choir that in lyrically strong part commences faultlessly. In this song, choir takes turns with

a solo soprano by Kateřina Kněžíková. This soloist – not surprisingly - appears quite often in Ostrava (most recently in Dvořák’s oratory Saint Ludmila during the St. Wenceslas Music Festival). With her performance at the Friday concert she only confirmed her uniquely deep perception of music dominated by her perfect vocal phrases. Mezza di voce of this charming soprano is splendidly soft and her well-balanced and velvety voice works well even in the most hair-raising heights. Kateřina Kněžíková’s Carmina was tender, sensitive

and interspersed with emotions.

MILAN BÁTOR

OSTRAVAN.cz

14. 1. 2017

 

 

Mozart’s La clemenza di Tito in the National Moravian-Silesian Theatre (...)

 

“In the Thursday’s premier it was Kateřina Kněžíková who performed the role of Vitellia. The female soprano riveted with her virtuosic interpretation of challenging coloraturas where the voice persuasively resounded in its full vocal range. As for her acting, Kněžíková truly took delight in her role of a bitch who has no scruples about using all means to get to the throne (she even manipulates her lover Sesto to murder the Emperor), and played it with winsome animalism and flirtatious lasciviousness.”(...)

MILAN BÁTOR

OSTRAVAN.cz

7. 10. 2016

 

 

Romeo and Juliet: an old story in new context (...)

 

Kateřina Kněžíková as Juliet was stunning. With great facility she sang all difficult arias and filled them with emotions. Her performance was light-weight and sometimes even ethereal (...). It was a voice of truly young Juliet, which was highly pleasant. (...) She sang the famous aria Je veux vivre dans ce rêve (I want to live in the dream) with impishness and freedom of girl who may be a bit pampered, living in luxury and yet partly still a child. And then under the burden of love and secret marriage she suddenly becomes a woman, at first passionate and then suffering. Kateřina Kněžíková indeed mastered all aspects of this role. Together with Aleš Briscein they formed an equal and good-looking pair, and their duets rank among the most powerful moments of the performance.

SVATAVA BARANČICOVÁ

Operaplus.cz

24. 4.  2016

 

 

A German Requiem – A Tribute to Jiří Bělohlávek

 

(...) It was an intense evening filled with emotions; one of those overcome with emotions, apparently, was the soprano KateřinaKněžíková. Her solo in the central movement of the composition wascandid and sincere throughout, andfull of dreamy beauty in the final quiet section. An exquisite rendition of a score, such as the performance of A German Requiem on 11 June, gives a definitely affirmative answer to those asking whether music is worth doing and listening to. (...)

PETR VEBER

casopisharmonie.cz

12. 6. 2017​​​

PKF – Prague Philharmonia Rounds Off the Season with a Monument – Brahms’ Requiem

(...) The soloist of the evening was the soprano KateřinaKněžíková, who imbued the text with much feeling. In the movement titledIhrhabt nun Traurigkeit,she used her bright voice and excellenttechniqueto produce phrases full of beautiful expression. (...)

DOMINIK SIRNÝ

operaplus.cz

12. 6. 2017

Le Comte Ory, Prýgl and Schnittke at the Prague Spring in Opera panorama Helena Havlíková

(...) The first premiere was dominated by Kateřina Kněžíková with technically well mastered part, with her balanced round soprano and charm. The part of Countess Adèle "fits" her perfectly. (...)

HELENA HAVLÍKOVÁ

lidovky.cz

31. 5. 2017

Opera comedy Le Comte Ory under the guidance of the choreographer and the dancer was admirable

(...) The first premiere on May 26th featured all excellent singers. They were led by Kateřina Kněžíková as the main female character Countess Adèle. Her voice matures into a fullness of sound, she coped well with the Rossini coloratura. In addition, she played her role absolutely naturally and with pleasure - with all the details that are typical for a woman´s mind.  (...)

PETR VEBER

mestohudby.cz

28. 5. 2017

Dvořák Requiem, BBC Symphony Chorus and Orchestra, Bělohlávek, Barbican

 

(...) sympathetic soprano Kateřina Kněžíková  rose to the biggest challenges – lyric, limpid but always capable of projecting above large forces. We had two British replacements for the originally advertised mezzo and bass – experience in... (...)

DAVID NICE

theartsdesk.com

14. 4. 2017

Dvořák Requiem : Jiří Bělohlávek, BBCSO Barbican

 

(...) Kateřina Kněžíková's soprano rang out beautifully, bright at first then descending to  a rich, almost mezzo lustre. (...)

Lassical Iconoclast

14. 4. 2017

BBC Symphony Chorus & Orchestra – Jiří Bělohlávek conducts Dvořák’s Requiem

 

(...) and the vocal soloists – Catherine Wyn-Rogers replacing Jennifer Johnston – were all splendid, so somewhat invidious to mention Richard Samek’s ardent (Italianate) contribution and that Kateřina Kněžíková was angelic. The concluding ‘Agnus dei’ was deeply affecting: consoling, accepting ... and also infinite… (...)

COLIN ANDERSON

classicalsource.com

13. 4. 2017

New Year's concert of the Philharmonic Ostrava in the wild rhythm of Carmina Burana's drinking and love songs.

 

Amor volat undique starts with a children’s choir that in lyrically strong part commences faultlessly. In this song, choir takes turns with

a solo soprano by Kateřina Kněžíková. This soloist – not surprisingly - appears quite often in Ostrava (most recently in Dvořák’s oratory Saint Ludmila during the St. Wenceslas Music Festival). With her performance at the Friday concert she only confirmed her uniquely deep perception of music dominated by her perfect vocal phrases. Mezza di voce of this charming soprano is splendidly soft and her well-balanced and velvety voice works well even in the most hair-raising heights. Kateřina Kněžíková’s Carmina was tender, sensitive

and interspersed with emotions.

MILAN BÁTOR

OSTRAVAN.cz

14. 1. 2017

Mozart’s La clemenza di Tito in the National Moravian-Silesian Theatre (...)

 

“In the Thursday’s premier it was Kateřina Kněžíková who performed the role of Vitellia. The female soprano riveted with her virtuosic interpretation of challenging coloraturas where the voice persuasively resounded in its full vocal range. As for her acting, Kněžíková truly took delight in her role of a bitch who has no scruples about using all means to get to the throne (she even manipulates her lover Sesto to murder the Emperor), and played it with winsome animalism and flirtatious lasciviousness.”(...)

MILAN BÁTOR

OSTRAVAN.cz

7. 10. 2016

Romeo and Juliet: an old story in new context (...)

 

Kateřina Kněžíková as Juliet was stunning.

With great facility she sang all difficult arias and filled them with emotions. Her performance was light-weight and sometimes even ethereal (...). It was a voice of truly young Juliet, which was highly pleasant. (...) She sang the famous aria Je veux vivre dans ce rêve

(I want to live in the dream) with impishness and freedom of girl who may be a bit pampered, living in luxury and yet partly still

a child. And then under the burden of love

and secret marriage she suddenly becomes

a woman, at first passionate and then suffering. Kateřina Kněžíková indeed mastered all aspects of this role. Together with Aleš Briscein they formed an equal and good-looking pair, and their duets rank among the most powerful moments of the performance.

SVATAVA BARANČICOVÁ

Operaplus.cz

24. 4.  2016