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Press

2016 in  kulturtipp 4 l 16

 

  • In the long life and multifaceted dimensions of the Prague composer Joseph Bohuslav Foerster (1859-1951) songs take a central position. The friend of Gustav Mahler who was married to the singer Bertha Lauterer was aimed  internalizational poetry despite several operas. This is underlined by titles like "Lieder der Dämmerung" ("Songs of the Dawn"), "Nachtviolen" or "Trauerlieder". Together with expressive love songs, Psalms with organ accompaniment, song miniatures in Folk and simple carols they givea surprisingly wide cosmos which includes also "Songs from the war". ........

    Walter Labhart.

    J.B. Foerster: Reverie. Olga Černá (soprano), Matthias Veit (piano), Pavel Černý (organ).

    Radioservis CR0716-2. wwwradioteka.cz

  • “Olga Černá formed her parts with warmth and deep expression and gave them an intensive evidence … where in the dialogue with the chorus the alto brought home directly to the listeners the text with the beauty of her voice.” (Niederelbe-Zeitung about Christmas oratorio in Cadenberge (Germany), December 2010)
  • “Olga Černá sung the four romantic love songs ("Kvítek šáronský" - Sharon’s blossom - by Zdeněk Lukáš, world première) with tender mellowness and a lot of sensibility. After that she sung with wonderful emphasis the late-romantic “Il Tramonto” by Ottorino Respighi … (after the 13th string quartet with mezzo-soprano by the Australian composer Peter Sculthorpe). In all three pieces the singer proposed another facette of her splendid mezzo-soprano.” (Harburger Anzeigen und Nachrichten, January 2010)
  • “Last not least the contributions to the program by the Czech mezzo-soprano Olga Černá were greeted with great enthusiasm” (Tønsbergs Blad, Norway, July 2006)
  • “Olga Černá with her pleasant mezzo-soprano deals perfectly with all aspects of this colourful bunch of CD-premieres, including two Christmas songs in French. Esspecially impressive are those eight songs from „New Miniature„ composed in 1942. A most refreshing, very well commented discovery!” (Nordsee-Zeitung Bremerhaven, CD Martinů Songs/Naxos, May 2006)
  • “The longing for the distant native country in these moving jewels is as sensitive and convincing expressed by Olga Černá as the lyric fervour of two arias from „The Miracle of our Lady“ and the humorous sound of the children‘s songs. Her „Miaow-miaow“ in the „The Little Cat“, differently presented in each repetition, turns out to be a special musical treat.” (Walter Labhart in „Aargauer Zeitung“ Baden/Switzerland, about CD Martinů Songs/Naxos, February 2006)
  • “The range of style is quite dazzling. Olga Černá’s performance of this repertoire is thoroughly appealing, wether dealing with the brisker folk-style or the more inward of the settings.” (BBC Music Magazine, about CD Martinů Songs/Naxos, January 2006)
  • „Olga Černá has an excellently trained voice, in the lower pitch nearly sounding like an alto, which she uses with an impressive ability of variation. Both vocally and musically she needs not be be afraid to be compared with her colleague Magdalena Kožená. - Besides wellknown and perfectly unknown songs there are also two arias from the opera „The Miracle of our Lady“ and two dances for piano solo from „Spalícek“ on this CD. This is the way to make an attractive program! For all Martinů-admirers this CD should be an absolute must!” (Prager Zeitung, about CD Martinů Songs/Naxos, January 2006)

 

  • “Olga Černá has an attractive, slightly silvery coloured voice, which fortunately lacks the doleful heaviness which makes some mezzos less than appealing at length. Unhesitatingly recommended.” (musicweb-international, about CD Martinů Songs/Naxos, November 2005)
  • “...here we have got to do with top class artistic qualities...” (CD review about Martinů Songs/Naxos, KB Oslo/Norway, January 2005)
  • „Olga Černá was engaged for the difficult voice part in the symphony (Symphony no. 4 “Desiderata” by J. Krček), a singer who, after many appearances abroad, is fortunately becoming better known here, too.“ (Hudební rozhledy/Music review of July 2004)
  • “...The most interesting part of the evening though was the participation of Olga Černá who sang largely unknown songs of Martinů, among those two world wide first performances: three songs called "Goethe-Lieder" of the young Martinů, H.94, interesting but rather impersonal compositions, and "Saltimbanque", the only one of the "Three Apollinaire Songs" of 1930 handed down, a short and funny miniature of which Olga Černá is in possession of the only copy of the manuscript... Her beautiful tone and her qualities of expression reached their climax in the songs in Czech, especially in those two delightful and moving "Ballads based on Folk Verse" H 228, but also in the two miniatures from 1939 "Love Song" and "Wish of a Mother".” (Harry Halbreich in Newsletter 1/2005 of the International Bohuslav-Martinů Society about the Martinů Festival in Prague in December 2004)

  • “A special surprise: The mezzo-soprano Olga Černá, accompanied in masterly fashion by Jitka Čechová. In Schumann’s „Frauenliebe und -leben“, Olga Černá’s interpretation of tension between love and fear was both convincing and impressive.. One wondered how she would interpret the following songs by Martinů which are lacking the emotional background of German poetry. But i was here that her power of suggestion was strongest. These songs from the 20‘s and 30‘s, some of which were being performed for the first time, were sung with a light touch and a sure feeling for the various moods they embody. – It is generally accepted that today’s concert promoters do not have an easy time filling a hall for a Lieder recital. The enthusiasm of the audience showed, however, that a concert of such a high artistic level can win new friends.“ (Michal Matzner in Hudební rozhledy/Music review of July 2003)
  • “The mezzo-soprano Olga Černá (we were unfortunately not given any further information), who was outstanding, with a thorough insightinto the part, perhaps less excessive than Janet Baker...“ (Philippe Simon on Respighi’s „Il Tramonto“/CD Waldmann CZ in the French music magazine „Repertoire“ of May 1999)
  • „It is extremely pity that Ervín Schulhoff’s orchestral songs have not been previously performed. They were performed and interpreted by Olga Černá with great expressiveness and nuance.“ (Süddeutsche Zeitung, Adrian Cecil, November 1998)
  • „Olga Černá’s vocal achievement in the Rilke Lieder was both powerful, seductive and suggestive.“ (Hudební rozhledy/Musiv review, Miloš Pokora, 1998)
  • „The highlight of the concert in my opinion was the recitative „Erbarm es Gott! Hier steht der Heiland angebunden“ and the aria „Können Tränen meiner Wangen nichts erlangen“ from St.Matthew Passion, with an outstanding interpretation delivered by Olga Černá. This graceful and well trained mezzo-soprano’s voice was to fill the entire hall. It could be heard that thorough preparation was given to her part. Her performance was without false emotions, showing humility and respect for Bach’s music. It is a great pity, that an artist of this quality with such a sound technique and intelligence we are not able to hear more often in Prague.“ (Opus musicum, Jiři Mikuláš, 1994)
  • „Winner of the second prize (1985 Mikuláš Schneider – Trnavský Singing Competition) Olga Černá – mezzo-soprano – sang in a natural and pleasant way with technical ease. The greatest impression made was in her interpretation of Pauer’s composition „My life is like a sea“, where she showed her total understanding and delivered the dramatic contents with expressiveness.“ (Hudobný zivot/Musical life, Ljuba Makovická, June 1985)
   
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