The highlight of the evening is undoubtedly Tetiana Miyus as Leïla, who makes her clear soprano shine wonderfully and also makes a story that touches the heart palpable

Michaela Reichart, «Krone.at»

Leila «Les Pecheurs de perles»
LISETTE «La Rondine»
MICAELA «Carmen»
INFANTIN «Der Zwerg»
SUSANNA «Le Nozze di Figaro»
Foto by Werner Kmetitsch
SUSANNA «Il segreto di Susanna»
Leila «Les Pecheurs de perles»
Schedule 2022-2023
Haydn "Die Schöpfung " Benefiz-Konzert
October 9
Grazer Dom
Mozart "Requiem"
November 13
Basilika Mariatrost Graz
Marie "Die Verkaufte Braut" Smetana
November : 26
December : 7, 14, 31
Januar: 8, 13, 20
Februar : 4, 15
Oper Graz
Eine stimme von oben "Don Carlo " Verdi
April : 13, 20, 23, 30
Mai: 6
Oper Graz
Elena "Il capello di paglia di Firenze N.Rota
Mai: 13, 17, 21, 25
Juni : 2, 4, 7, 10, 16, 18, 23
Oper Graz
Gretchen, Szenen aus Goethes "Faust "
Juni: 14, 22
Oper Graz
Hugo Wolf Liederabend "Mörike-lieder "
April 24
Oper Graz
Haydn «Und Gott sprach ... Auf starkem fittiche»
Mozart «Ah chi mi dice mai...»
Gounod. Marguerite Arie

Isabella Steppan, Backtrack

The second couple of the evening offered significantly more fire, both vocally and actively: Tetiana Miyus impressed as the capricious Musetta, especially in the second act with stage presence and glamor factor.

With the crystal clear height of her soprano and clever phrasing, she skilfully wrapped both the audience and Marcello around her finger and in the fourth act she designed a moving, heartfelt prayer before Mimì's death.

Manfred A.Schmid, Onlinemerker

Tetiana Miyus is a true feast for the eyes and ears, both vocally and dramatically. Lively, delightful, wide awake and equipped with a fresh, graceful soprano.

In truth, it is probably she who pulls the strings in the background, and not, as usual, her bridegroom, who is skillfully manipulated by her, as in a scene where she actually pulls him with strings tied to his arms, like one Puppet controls.

Martin Gasser, Kleine zeitung

One hears this poetry mainly through Tetiana Miyus as Leïla, who gives this evening lyrical brilliance and suppleness: She is not one of the coloratura automatons that one has often heard in this part, she sings with imagination, inwardness and rounded coloratura. She also does not owe the dramatic outbursts in the third act; Miyus is moving in her own league this evening.

Isabella Steppan, Bachtack

The voice has the necessary lightness and lyrical quality to float endlessly in space in the ethereal moments — for example, in the second act during the aria "Comme autrefois dans la nuit", time almost seemed to stand still; on the other hand, it offered enough attack to ask for Nadir’s life in the third act, both heartily and intensely.

Miyus ‘soprano is endowed with a beautiful sound in all registers and conveyed the emotional world of the character through an abundance of colors.

Isabella Steppan, Backtrack

With Donna Elvira, Tetiana Miyus was able to make a new role her own, and she clearly enjoyed playing this exalted and at times somewhat furious role.

Miyu’s ‘interpretation proved that an Elvira does not necessarily have to be filled with a heavy, nagging voice: energetically yet beautifully she sang about her initial fantasies of revenge, heartbreaking she finally poured the inner conflict in" Mi tradì "into pearly coloratura.