OPERA REVIEWS

Médée in "Médée" by L. Cherubini

"Oxana Arkaeva in the leading role presents, despite her outfit, not an ancient revenge fury, but most of all a vulnerable and deeply wounded woman; she doesn´t overdraw her means in singing, but impresses by legato and piano culture and a keen sense of the values the French language". E. Plutta, "Opernwelt", 04.2015

Giorgetta and Angelica  in "Il trittico" by G. Puccini

“Giogetta (Qxana Arkaeva), who already impressed by immense vocal range and strong expression ... has as Suor Angelica another opportunity to convey a major role of great suspense and power, convincing in desperate rearing up till impressive with large-scale sung resignation. The "coronation" of their mother's love culminates in the hopeless suicide by the poison herbs. " C. Rick," NW ",  05.13.2014

Mimi in "La Bohème" by G. Puccini

„Oxana Arkaeva gives the role of Mimi a charming and discreet profile full of compelling personality. Sung with a big voice, but almost childish, yet wordily-wise in acting, this unconditionally loving Mimi deeply touched our hearts on evening“. 

D. Hub, „Augsburger Allgemeine“ 29.9.2010

Iphiigénie in "Iphigénie en Tauride" by Ch. W. Gluck

"Oхana Arkaeva definitely occupies not the last place in the world of opera, and we realized it at the first sounds that she produced. She has the voice of real Prima donna. Voice with a mysterious tone, with some stretchy inner essence and it is absolutely suitable for the part of Iphigenia... she also has a real Prima donna gesture, with some certain inner existens, not only in singing, but also on stage".  A. Parin, 21.03.2015, Russian Music TV-Radio Center

Feldmarschallin in "Rosenkavalier" by R. Strauss

"Soprano Oxana Arkaeva tastes Hofmannsthal Languadge-tonal values with delicacy. Her fine decorated, of bearing capacity Piano monologues let us hold our breath in". E. Pluta, "Opernwelt", 03.2014

Salome in "Salome" by R. Strauss

"...the way the soprano Oxana Arkaeva sings and  plays, beginning first with the attempt to seduce the prophet, followed up with her dance and ending up by kissing his severed head, is already alone a first-rate acting achievement. And her singing, with controlled dynamics that can explode into powerful, radiant high notes, can be called nearly sensational, full of overcoming and dramatic sensations". G. Buhles, "Schwäbische zeitung", 24.04.2010