THE FIERY ANGEL - Scherzo, Spain (Mar, 2005) "Of all the Voices, the Soprano Oksana Krovytska, was outstanding, truly dazzing. Her vocal strength and acting abilities created an awesome marvel with the almost impossible role of Renata. The long narrative of the first act was the beginning of a memorable performance, controlled and internalized. With her extraordinary scenic and vocal power the Ukrainian soprano measured the pace of the impressive crescendo Prokofiev built to enliven the fascinating 5-act construction. The intelligence and acute sensibility that la Krovytska revealed in her subtle dramatic and vocal evolution was one of the key elements of the irrefutable artistic success of the performance."


KATJA KABANOVA - MONTREAL OPERA: Devoir (Nov. 6, 2000) "O.K. finds just the right sound, never ever pushing the boredom, the passion, or the quasi derangement." / Presse (Nov. 6, 2000)-(Claude Gingras) "I want to point out immediately the very moving quality and voice of the beautiful and young Ukrainian , O.K." / The Gazette (Nov. 6, 2000)-"The Ukrainian soprano O.K. navigated the role of Katya superbly, demonstrating a powerful and never less than beautiful voice throughout." /


MADAMA BUTTERFLY- NEW YORK CITY OPERA: New York Times (Sept.13, 1999) "The center of our attention was also the object of our admiration. O.K.sang beautifully as Cio-Cio-San. The voice works: its sincerity grips the ear, and it is tempered by a judicious musicality."New York Newsday(Sept.13,99)-The underrated Ukrainian soprano brightly affecting...;New York Post (Sept.13, 1999)-O.K. was both impassioned and vulnerable in the title role and delivered a sweetly modulated "Un bel di," that prompted the audience's vigorous approval. New York Times (March 10, 1998)-(Headline)The 'Butterfly' Puccini wanted, A Ukrainian singer seems to know what the geisha must have felt - "The principal attraction in the current run is O.K., a Ukrainian soprano whose vocal agility, graceful movement and dramatic sensibility make the title character's ingenuousness both believable and touching. Throughout the performance, and particularly in the final two acts, Ms. K. sang with a fluid combination of depth and luster that gave her character dimension. She consistently made Butterfly's most crucial moments - her rendering of "Un bel di," the end of her meeting with Sharpless and the entire final scene, for example - as revealing and wrenching as they demand to be."

BARTERED BRIDE- L'OPERA DE MONTE CARLO: Nice Matin (Feb.19, 1999) "The vocal talents were equally evident (to those of conductor Zdenek Macal.) Oksana Krovytska displayed excellent talents as a singer and an actress in the part of the bride." / NEUE KRONENZEITUNG (Vienna) (Feb. 28, 1999)-"Zdenek Macal achieved beautiful sounds and transported the singers to their best vocal accomplishments, as with the young Oksana Krovytska as Marie. With her wonderful soprano - already lauded in New York - she displayed dramatic power, fiery expression and lyric singing. Opernglass (April 1999)- The singers supported (director Karel Drgac) perfectly. Oksana Krovytska, from Ukraine, is an absolutely assured Marenka, who knows exactly what she wants. Vocally and otherwise she is well on her way to Katja Kabanova, whom she will sing shortly in Montreal and Miami. The somewhat succulent charm of her voice combines with great technical assurance into a fascinating package. Especially in the big aria of the third act, she cleverly accomplished at once to express the long musical phrases and to give the piece cohesive form. Orpheus (May 1999)- Oksana Krovytska, a Marenka with endearing expressiveness and a pleasantly timbred soprano, and Miro Dvorsky portrayed an acoustically, as well as visually believable pair of lovers."