© Daniel Jäger
Tamara Morozová applied her expertise in song repertoire, of which she is one of the country’s leading advocates and interpreters, in her solos. Her performance was compelling, and her heartfelt singing was free of any operatic embellishments or unnecessary force. She especially shone in her second appearance, where she meticulously shaped phrases in highly demanding passages, requiring each note to be sculpted with a different energy.
4. 2. 2025, Jan Sebastian Tomsa, Klasikaplus
By coincidence, the two soloists with Slovak roots—Tamara Morozová and Martin Gurbaľ—stood out the most at the concert. While the bass Martin Gurbaľ truly shone and confirmed his reputation as an outstanding concert soloist, the young soprano Tamara Morozová surprised with the robustness of her dramatic soprano, which can instantly transform into something pure, lyrical, and intimate. Thanks to her, I could almost feel the costumes, sets, and stage action, as if the three sections of the oratorio bordered on a (potential) theatrical staging.
When I congratulated soprano Tamara Morozová (now a rising Czech star originally from Trebišov) on her outstanding performance after the concert, she humbly responded in beautiful Slovak: “That was my first Ludmila.” I must admit, it was mine too. And the way I heard her, she left me with a strong impression of a magnificent Dvořák interpretation of the Czech saint, standing artistically on par with his Stabat Mater. The musicality and technical mastery of the entire performance transcended the usual regional framework of the musical scene, meeting high artistic standards. The audience rewarded this extraordinary evening with a standing ovation and thunderous applause.
11. 10. 2024, Agata Schindler, Operaslovakia
The outstanding and perfectly balanced performances of soloists Tamara Morozová (Ludmila), Michaela Zajmi (Svatava), Martin Šrejma (Bořivoj), and Martin Gurbaľ (Ivan) were supported by the sensitive accompaniment of the orchestra. Staying true to the score, the soloists could fully develop the emotional dimensions of their characters. The finale, where Dvořák transforms the historical chant Hospodine, pomiluj ny into a grand fugue, lifted the numerous audience members from their seats. The hall erupted in well-deserved ovations.
5. 10. 2024, Tomáš Strašil, Klasikaplus
The spring series of Dvořák’s Armida at the Prague National Theatre, alongside excellent male performances, brought an outstanding debut by young soprano Tamara Morozová, who had previously made a name for herself in Prague’s cultural scene as a passionate interpreter and advocate of art songs. Tamara Morozová received highly positive acclaim for her debut. Her performance was marked by balance and naturalness, as if she moved on stage with the confidence of an experienced professional. Her delivery was imbued with mature musicality and extraordinary inner harmony.
Tamara Morozová sang Zuzana, and I found her voice very appealing. From the few performances I have attended recently, I sensed a strong understanding of the role, conveyed with vocal confidence and conviction. One particularly striking moment was when she powerfully declared: “Sister Klementina, I am beautiful! I am beautiful!”—a perfectly mystical experience.
9. 4. 2024, Rafael Brom, Klasikaplus
First and foremost, Tamara Morozová’s performance must be highlighted. Step by step, the audience witnessed a singer who, through minimalist yet highly effective interpretative techniques, gradually revealed the depths of her character, building up to the climactic high C.
9. 4. 2024, Václav Bečvář, Operajournal
The lead role, delivered with a strong expressive charge, was interpreted by the talented Czech soprano of Slovak descent, Tamara Morozová. Her almost dramatic soprano majestically filled the space, navigating the extremely demanding (especially in the highest registers) role of Zuzana with technical security and precise intonation.
9. 4. 2024, Pavel Unger, Operaslovakia
Tamara Morozová, whose commanding performances in Lieder Society recitals continue to reach ever greater heights, transitioned from the dark opening (Stesk) to newfound joys and hopes in the emotionally rich and optimistic cycle O lásce. Morozová always presents a clear musical vision, yet her interpretation improves with every concert—not merely in her excellent vocal delivery, but in the depth of expression, atmosphere, and emotional impact she imparts to every word in every song. Tamara Morozová is emerging as one of the most significant figures in the domestic art song scene.
26. 3. 2024, Václav Bečvář, Operajournal
This song cycle is attractively cohesive, remarkable in its expressive unity, and in this context, soprano Tamara Morozová delivered a superb performance. She possesses a richly colored voice, and her interpretation reflects an intimate understanding of O lásce. She masterfully builds emotional nuances, from the poetic longing of Až se vrátíš (“And I will light all the lamps to see if you have returned”) to the playful expressiveness of Zvědavost (“Curiosity”), culminating in Modlitba (“Prayer”), which stood as a true crown of both word and music—an engaging and precise interpretation by both the soprano and pianist.
23. 3. 2024, Anna Šerých, Operaplus