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Referencie

sme.sk

„Hudbe je základom tohto komplexného gesamtkunstwerku. […] Here I am, Oralndo je vynikajúce, sugestívne dielo.“

KlasikaPlus

„Výsledkem je zcela mimořádný projekt světového formátu. Zní to paradoxně, ale události Roku české hudby se v Janáčkově divadle stala 14. čevna premiéra opery slovenské autorky s anglickým libretem“

Frankfurter Allgemeine, 22.08.2020 WERNER M. GRIMMEL

BREGENZER FESTSPIELE: Endlich eine heitere Corona-Oper

Lubica Čekovskás komische Oper „Impresario Dotcom“ feiert ihre Uraufführung bei den Bregenzer Festspielen – und besticht mit skurrilem Humor, leuchtenden Klängen und einer Parodie der Oper als Geschäft und Sozialraum.

HARMONIE, 9.1.2016, Maxim Belčikov

„Ľubica Čekovská belongs to the one of the most talented composers in her generation“

The Times BFI 50th London Film Festival, 2006 CRUAL JOYS, dir.Juraj Nvota

The Times

„The film’s languorous mood is complemented by a striking score from Ľubica Čekovská“

Arvo Pärt (estonian contemporary composer) – review on her CD „Passing Impressions

Arvo Pärt

„You can feel purity, austerity and dramatic feeling in herworks….her music radiates with feelings of freshness and the joy of living… beauty and seriousness“

JUNGHEINRICH, Hans-Klaus: Der unverwüstliche Wüstling. In: Opernwelt 2014/1, s. 35

„Cekovska’s music shows clear influences of Britten, Shostakovich, Janáček, and Berg, which has been “skillfully homogenized…“

BACHTRACK, Franck Kuznik, 22nd May 2015, review/ The Pallor of Dorian Gray at Prague spring festival

„Čekovská’s painting motif works brilliantly. What starts as a single recorded voice becomes a multi-tracked vocal that degenerates along with Gray’s soul, finally turning into a nails-on-the-blackboard sonic wail. It’s a strikingly effective device, especially used so sparingly.“

Opera review by George Loomis, 13th November 2013

„The new opera “Dorian Gray,” by the young Slovak composer Lubica Cekovska, represents the latter. Ms. Cekovska’s easily grasped, mildly dissonant style, with lyrically oriented vocal lines, underscores, as far as it goes, the unsettling nature of Oscar Wilde’s sinister novel. Tension is created by steady drumbeats, insistent rhythms and swelling chords. Ms. Cekovska interestingly conveys the picture’s disfiguration musically through wordless boy-soprano melodies that recur increasingly distorted.“

George Loomis
THE NEW YORK TIMES

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