BARTERED BRIDE- L'OPERA DE MONTE CARLO: Nice Matin (Feb.19, 1999)-"The vocal talents were equally evident (to those of conductor Zdenek Macal.) Oksana Krovytska displayed excellent talents as a singer and an actress in the part of the bride." / NEUE KRONENZEITUNG (Vienna) (Feb. 28, 1999)-"Zdenek Macal achieved beautiful sounds and transported the singers to their best vocal accomplishments, as with the young Oksana Krovytska as Marie. With her wonderful soprano - already lauded in New York - she displayed dramatic power, fiery expression and lyric singing.” / Opernglass (April 1999)-“The singers supported (director Karel Drgac) perfectly. Oksana Krovytska, from Ukraine, is an absolutely assured Marenka, who knows exactly what she wants. Vocally and otherwise she is well on her way to Katja Kabanova, whom she will sing shortly in Montreal and Miami. The somewhat succulent charm of her voice combines with great technical assurance into a fascinating package. Especially in the big aria of the third act, she cleverly accomplished at once to express the long musical phrases and to give the piece cohesive form.” / Orpheus (May 1999)-“Oksana Krovytska, a Marenka with endearing expressiveness and a pleasantly timbred soprano, and Miro Dvorsky portrayed an acoustically, as well as visually believable pair of lovers."
LA BOHEME- NEW YORK CITY OPERA NATIONAL COMPANY: Maine Sunday Telegram (Feb.2, 1997)-"Though her rich voice seemed almost too dark for the consumptive Mimi, Oksana Krovytska still sang the role splendidly. She drew good hands for her signature aria Mi chiamano Mimi in the opening scene and for her leavetaking of Rodolfo, Addio, dolce svegliare in the third scene at the Paris gates." / Newark Star Ledger(Jan.18,1997)-"The evening's vocal standout was O.K. as Mimi. With a rich, full and evenly distributed tone and unflagging technique that included a perfect legato, she showed a firm grasp of the character's emotional life. She even managed to suggest infirmity while singing loudly in her death scene."
CARMEN-KAMPTAL FESTIVAL (OpernAir Gars, Austria): Wiener Zeitung (July 22, 1996)-"O.K. as Micaela thrilled with her very fervently sung aria in the third act." / Die Presse (July 22, 1996)-"Besides the pleasant sounding voice of O.K...." / Neue Freie Zeitung (July 24, 1996)-"The quality for which OpernAir Gars stands for was impressively shown only by O.K. as
Micaela whom the knowledgeable audience thanked with special applause." /
Neue NÖN (July 27, 1996)-"Even more worth seeing and hearing is the peasant maid Micaela (O.K.) who was vocally absolutely convincing and among the
women offered the most perfect performance." / Neues SVZ Volksblatt (July 30, 1996)-"O.K. as Micaela captivates through intensive portrayal and a
round, dark-timbred soprano." --NEW YORK CITY OPERA: NY Newsday (March 8, 1995)-"O.K. sang Micaela with dark hue and empathic throb." / The New York Times (Oct. 21, 1993)-"O.K..is a gifted Ukrainian soprano who made a strong New York recital debut last spring...the silvery tones of her voice shone through as the evening went on." / The Post Star (June 20, 1993)-"It was in O.K. that one heard the finest voice, playing Don Jose's jilted love, Micaela, with refinement and grace. K.'s presence on stage was subdued, her gestures simple and direct. She allowed her voice to do the work, and consequently one wasn't distracted by other elements." / The Washington Post (June 11, 1993)-"O.K. had a lovely voice-just right for the character."
FALSTAFF - WEST VIRGINIA SYMPHONY
Opera News (October 1996)-"In her first Alice Ford, O.K. displayed an articulate soprano with a rapid vibrato and a fearless top."
The Charleston Gazette (May 6, 1996)-"Soprano O.K. as Alice Ford sang with great power and flexibility in her extended solos in Act II."
Charleston Daily Mail (May 6, 1996)-"The cast of singers was as luminous as a calcium night light. O.K....sang like angel(s)."
LA TRAVIATA -METRO CONCERT OPERA ORCHESTRA: The Newark Star Ledger (May 22, 1996)-"Violetta was sung with brio by O.K, showing lovely upper decoration particularly in the first act finale...those high notes were
always there when she wanted them without running up or falling off -
except in the death scene, where she let her techique weaken affectingly
and very much on purpose."
--NEW YORK CITY OPERA NATIONAL COMPANY: Syracuse (January 13, 1996)-"O.K. made a striking Violetta on all counts. K. has really lived with this part.
Her traversal from an inane woman who lives only for partying to an
anguished lover was altogether convincing. Her death scene was deeply
compelling. Vocally K. has a big soprano with a measure of steel in the
tone. She is a fine musician and poured her soul into the music."
--NEW YORK CITY OPERA: Associated Press (March 3, 1996)-"O.K., as Violetta, has a gleaming voice in the top register. Her coloratura was true,
glittering and warm and her lyric singing flowed." / The Washington Post
(July 1, 1995)-"There are vocal riches here as well. O.K. sings the
consumptive heroine more sensitively than many sopranos; her voice is an
inarguably lovely thing, silvery and exciting above the break, and
compellingly throaty below." /
Opera (Great Britain, July 1995)-"I also caught the first
performance of the new Traviata with the Ukrainian
soprano O.K. as Violetta. K.'s first act would have been of star quality in
any theatre in the world. She is pretty, she moves gracefully and
expressively, and while the voice in the Slavonic manner gets a little too
much resonance in the sinus chamber, she employs that slightly edgy tone
for dramatic purposes." The Saratogian (June 16, 1995)-"O.K., who sang
Madama Butterfly last summer at SPAC, is a thrilling singer, equally strong
in coloratura runs and in the psychological dimensions of Violetta, who has
been called a courtesan with the soul of a virgin."
DON GIOVANNI - NEW YORK CITY OPERA: New York Times (Apr. 4, 1997)-"O.K. was a fine Donna Elvira." Opera (Dec.1995)-"O.K. was an excellent Donna Elvira." / The Bergen Record (Oct. 4,1995)-"O.K....also commendable as the Don's spurned lady. Krovytska, who played Elvira, delivered some of the evening's most poignant arias with clarity and grace, yet she practically breathed fire as she stormed across the stage seeking vengeance against her despicable ex-lover." / New York Newsday (Sept. 26, 1995)- "As Donna Elvira, O.K. survived all the character's emotional swings between hopeless rage and hopeless pining without becomong a cartoon." / New York Times (Sep. 18, 1995)-"O.K....as Donna Elvira...insistent, suspicious and nearly as ubiquitous (as the Commendatore's statue)..."
KATJA KABANOVA - MONTREAL OPERA: Devoir (Nov. 6, 2000)-"O.K. finds just the right sound, never ever pushing the boredom, the passion, or the quasi derangement." / Presse (Nov. 6, 2000)-(Claude Gingras) "I want to point out immediately the very moving quality and voice of the beautiful and young Ukrainian , O.K." / The
Gazette (Nov. 6, 2000)-"The Ukrainian soprano O.K. navigated the role of Katya superbly, demonstrating a powerful and never less than beautiful voice throughout." /
MADAMA BUTTERFLY- NEW YORK CITY OPERA: New York Times (Sept.13, 1999)-"The center of our attention was also the object of our admiration. O.K.sang beautifully as Cio-Cio-San. The voice works: its sincerity grips the ear, and it is tempered by a judicious musicality."New York Newsday(Sept.13,99)-The underrated Ukrainian soprano brightly affecting...;New York Post (Sept.13, 1999)-O.K. was both impassioned and vulnerable in the title role and delivered a sweetly modulated "Un bel di," that prompted the audience's vigorous approval. New York Times (March 10, 1998)-(Headline)The 'Butterfly' Puccini wanted, A Ukrainian singer seems to know what the geisha must have felt - "The principal attraction in the current run is O.K., a Ukrainian soprano whose vocal agility, graceful movement and dramatic sensibility make the title character's ingenuousness both believable and touching. Throughout the performance, and particularly in the final two acts, Ms. K. sang with a fluid combination of depth and luster that gave her character dimension. She consistently made Butterfly's most crucial moments - her rendering of "Un bel di," the end of her meeting with Sharpless and the entire final scene, for example - as revealing and wrenching as they demand to be." Albany Times Union (June 19, 1997)-"With a truly sensational soprano in the person of Ukrainian-born (O.K.) as Cio-Cio San...Puccini's sung soap opera soared.... K.'s every move, every gesture, rang true. Her singing of the taxing role was marvelous from the gracefully phrased love duet of Act One through the famous "One Fine Day" aria...to the final bars of her ritual suicide at the end. Even little comic touches...worked nicely." Glens Falls Post-Star (June 19, 1997)-"With soprano O.K.'s strong fluid voice and poignant, lovely acting, the tragedy unfolded eloquently. Act II belonged almost entirely to K., who was quite marvelous. Her acting captured all the longing and frustration of Pinkerton's three-year absence, even as her singing was wonderfully colored with shades of hope and sadness." The Saratogian (June 20, 1997)-"O.K. sang the demanding role with gentle power.... This is a performance not to be missed. Soprano K. weaves together the colors and textures of Butterfly's complexity, like a silken Japanese robe." Schenectady Daily Gazette (June 19, 1997)-"O.K. brought (a) powerful and gorgeous voice to the production. With all else in place, K. stepped up and sang beautifully, never an easy task in this opera, considering the marathon proportion of the Butterfly role. (She) delivered thrillingly from start to finish." / The Chronicle (July 14, 1994)-"I was fortunate to see Butterfly twice, and compare two casts. Both were excellent but the edge for dramatic power and intensity of singing goes to O.K., a soprano from Ukraine. Her parting lullabye to her child would wring tears from the hardest heart." / Lafayette News (1994)-"Ukrainian soprano O.K. proved a fine interpreter of the demanding
part of Butterfly." / The Tampa Tribune (March 25, 1994)-"O.K. in the title role is a confident, powerful soprano with commanding presence on stage." / The Hartford Courant (Feb. 17, 1994)-"O.K., a young Ukrainian soprano who
made her City Opera debut just last season, gave a touching, commanding
performance as the doomed geisha whose heart is broken by a heedless
American sailor. From her opening appearance (at the end of which she
soared to a heavenly, hushed high D-flat) to her anguished but grimly
purposeful final moment, K. made her character into a figure of both
vulnerability and strength. And she was vocally resplendent." New Haven (Feb. 14, 1994)-"There are also some impressive singers. Ukrainian O.K., as Cio-Cio-San has a beautiful voice...She is also a terrific actress,
conspiring with Puccini to turn the whole audience into helpless mass of
sniffles." / The Maine Campus (Feb. 14, 1994)-"O.K., who played Butterfly,
is a native of Lviv in the Ukraine. Her voice was the sweetest and yet
strongest sound to have resonated throughout the Hutchins Concert Hall in a
very long time. There was absolutely nothing resembling shrillness in the
notes of this soprano and she is to be commended for the effort and the
sincerity of her entire performance. To see her act out the part of
Butterfly as well as sing it is to really experience the range of emotion
of the character." / Bangor News (Feb. 14, 1994)-"And, of course, there was O.K. as Butterfly. She brought grace and innocence and power and heroism to the role. She made you feel each of her dainty emotions, each of her terrible blows." /
PRINCE IGOR - NEW YORK CITY OPERA: The Record (Sep. 13, 1994)-"As his wife Yaroslavna, O.K. offered perhaps the most impressive performance of the night, sending her rich soprano floating through the house in precisely
controlled tones that were filled with anguish, fortitude, and hope." / New
York Newsday (Sep. 12, 1994)-"K. is the incipient star here, with a supple,
clear, steely sound that warmed up by the middle of the second act." / The
Star Ledger (Sep. 12, 1994)-"Most compelling of all were this production's
leading ladies, a study in contrasts. Ukrainian soprano O.K. was the
picture of saintly tragedy as Yaroslavna, and she used her stratospheric
soprano to celestial effect." / The Westsider (1994)-"...she was
splendidly in her element as Igor's perpetually grieving wife, Yaroslavna.
She had all the fearsome big notes required, a really simpatico
personality, and she sang her two lengthy arias exquisitely."
TURANDOT - NEW YORK CITY OPERA The New York Times (Sept. 13, 1993)-"(O.K.'s) sound is appealingly rounded, and fairly consistent through her range. And if her first contributions led one to doubt the strength of her upper voice, her sweetly phrased, delicate account of "Signore, ascolta" put those doubts to rest. More crucially, in the last act (she) made Liu's combination of pain and dignity tangible."
ROSSINI STABAT MATER - COLORADO SYMPHONY ORCHESTRA
The Denver Post (Sep. 27, 1997)-"...the vocal soloists were among the best Denver has heard...soprano O.K. in the Inflammatus conveyed the passion of Mary in her singing." / Denver Rocky Mountain News (Sep. 27, 1997)-"...soprano O.K. soared majestically in the Inflammatus."
BACH CANTATA ARIAS - THE BACH CANTATA SOCIETY
The News-Times (Aug. 4, 1997)-"A real find is the soprano O.K. In an aria from Cantata 205...K. deployed her shapely voice in tandem with the curling violin....In an excerpt from Cantata 115...her phrasing was full of color, and she sounded seraphic in "Sheep May Safely Graze" from Cantata 208.... (K. has a trill.)"
SHOSTAKOVICH SYMPHONY No. 14 - NEW AMERICAN CHAMBER ORCHESTRA New York Post (May 31, 1997)-"...soprano O.K. sang with all the weight, tone and expressive power the texts required."
GORECKI 3rd SYMPHONY - COLORADO SYMPHONY ORCHESTRA
Boulder Daily Camera (Oct. 4, 1996)-"Henryk Gorecki's 'Symphony of Sorrowful Songs'...was well served both by (conductor Marin) Alsop and Ukrainian soprano O.K....to deliver a moving performance, to which Krovytska's plaintive delivery of the texts of lamentation contributed greatly. " /
Denver Rocky Mountain News (Oct. 5, 1996)-"...this work remains a curiously uplifting testament to the human spirit, particularly when the words are sung with such rich-toned expressiveness as they were by soprano O.K. "
VERDI REQUIEM - ARS MUSICA CHORALE
Newark Star Ledger (June 9, 1998)-"Chief among the soloists was soprano O.K., whose thrilling upper register and sympathetic interpretation never lost their appeal. Her strength and breath control was astounding, fully capable of being heard over both chorus and orchestra at triple-forte."-- WICHITA SYMPHONY ORCHESTRA Wichita Eagle (April 14, 1996)-"The solo stars were O.K....K.'s rapier-like soprano was nothing if not persuasive, with bulls-eye high notes. If anything, she could pull back a bit in the ensemble passages, but it was a thrill to hear her eyebrow-searing notes atop the full ensemble sound."
-- SACRAMENTO SYMPHONY ORCHESTRA
Sacramento Bee (May 5, 1995)-"K., who came to this country only three years ago, has been singing many leading roles at the New York City Opera...It
led to a magnificent fugal finale, with the chorus and orchestra in full
cry and K.'s voice riding high above them, on the words of deliverance."
-- FORT WAYNE SYMPHONY
The Journal Gazette (May 8, 1994)-"The four soloists were superb. The Verdi Requiem is quiet and operatic, and the four soloists met the demands of
the solos superbly. Soprano O.K. was particularly moving."
Opera News (October, 1995)-"She's been awarded with warm notices; in
addition to guts, (O.K.) happens to have a voice."
New York Newsday (Sept. 7, 1994)-"(O.K.) has an extraordinary voice...She's striking onstage, a beautiful blonde. 'OKSANA's voice is big and
expressive', says Christopher Keene, City Opera's general director."
MAHLER VIII SYMPHONY - COLORADO MAHLERFEST
Fanfare (November/December 1995)-"The Colorado soloists may not match Abbado's in name recognition, but fr