'..Domnich inhabited Tatiana completely. She has utter control of phrasing and unforced heft where it matters. Her final moments of intensity were magnificent utterances of desperation. The big houses should pay attention.' '...The charismatic Ilona Domnich made a poised yet sensual Melisande, her soprano both clean-toned and ripely palpitating.' '..Ilona Domnich’s Mélisande is as mesmerising as the other characters keep saying she is — her voice finds a place where you could confuse girlish temerity with repressed passion, her subtle performance well up to Mélisande’s moody, confusing allure. **** Kieron Quirke Evening standard, 2013 more.. |
'..I was struck by a combination of a voice of silken beauty with a powerfully affecting sensitivity. Ilona Domnich gave the most compelling performance of the piece I've ever witnessed: not big in gesture, but minutely observed, utterly credible, and sung with a disarming, jewel-like beauty. I've seen a lot of Voix Humaines...This was the first I've ever known to leave me on the edge of tears. ' **** Michael White, Opera Now 2008 more.. "...Alan Ewing’s Golaud prowled Minotaur-like in a cavern of misery, crucified by love for Ilona Domnich’s radiant, childlike Mélisande, the most mesmerising, tender and idiomatic impersonation of this role that I have seen." **** Anna Picard, The Independent, 2013 more.. |
'..This was Mélisande’s night; it was her feelings that mattered, whilst the other characters inhabited her world trying to explain the unexplainable: what does this Mélisande feel? Whatever the answer, it was all so touching, so delicate, as complex as a woman’s soul. Ilona Domnich rose to the occasion with a dreamlike interpretation: a secure, firm voice of attractive colour; her performance at times like a frightened animal, at times like a comforting mother to the deeply troubled Golaud. She was helped to create this impression by her subtlely flowing costume, long blonde tresses and a remarkably expressive face which did not hesitate to laugh with relief when the doors close at the end, leaving her alone with Pelléas outside the castle..' **** Auditorium 2013 more...
