….the lively Norina, Rodica Vica, was – thankfully – not a squeaky-voiced soprano, but attacked with a rather assertive dramatic voice. She wasn’t frugal in terms of high notes either – even the lights began to flicker in the finale (a fun gag) when she hit one. She used a full range of gestures and facial expressions and demonstrated an ingenious feel for comedy. Michael Tanzler, Der Neue Merker

Dressed in a sophisticated black dress with baroque silver drawings and with a model silhouette, Rodica Vică convinced us that not only hes great roles: Rosina, Norina, Rita, Belinda, Queen of the night and others contribute to the reputation of a career, but also concert appearances in many music styles (…) since the interpretation is done with dedication voice, carefully ornamental drawing and specific portamentos with endearing accents exprime pain, as is the lament of the Rinaldo Ah, it dove sei? in Ballet des Amours Deguises of Lully.
Revista Muzicala Radio Romania Cultural

Rodica Vica was absolutely brilliant. All those years when she was nearly a pioneer in Romania, singing mainly baroque music, reward her now, in Mozart’s music. I will not insist on the impeccable vocal performance. It is not only a matter of high notes and agility – they are essential, of course – but she also had something very hard to explain and very rare in Romania: style and good taste – a refinement which, obviously, is not given to everyone. She did much more than just singing beautiful sounds, which, we must admit, are memorable for a while. Rodica Vica proved to have substance and amplitude, she proved she belonged to a small group of artists who sing a Mozartian role with panache, who never disappoint you, who put the stress in the happiest places, even if this makes music sound like never heard before. Some time ago, when I discovered Rodica Vica, I liked her and I considered her a promising artist, but starting tonight, with this Donna Anna of rare nobility, I have become a fan. – despreopera.wordpress.com

Very strong and sophisticated. The most spectacular stage movement complex & executed with ease(…) I repeat, Rodica Vica made in this evening more than to sing, did a character.
www.operaonline.ro

The foreground allows us to discover the beautiful shrew Rita, full of verve, stage talent and soft voice malleably adapted to the belcantiste comedy – soprano Rodica Vica
Cimec.ro

Soprano with a genuine coloratura, Rodica Vica had the right attitude for Norina and, especially, the right voice. She pleasantly surprised on several occasions and gave the audience an exceptional high F at the end of “Quel guardo il cavaliere”, which she performed flawlessly. I listened to her singing this aria in other concerts and I noticed that the high F at the end of Norina’s aria has become a tradition for the soprano. Of course, she has all the necessary data! Lirika.ro

I really liked Rodica Vica’s approach to the character (Alcina), very powerful and sophisticated; the most spectacular and complex scenic motion carried with ease. I enjoyed her voice very much, it’s made for big roles. The soprano did more than to sing this evening, she brought a character to life – Operaonline.ro
Rodica Vica (Alcina) impresses with her scenic-musical dramatical presence – Acord Magazine

Soprano Rodica Vica built a dominating Alcina, powered by a strong voice, rich in harmonics, with a more darkened timbre – qualities very well emphasized in the furious climax of the opera, “Ombre pallide” from Second Act
Observator Cultural Magazine

The role of Donna Anna was sung by the dramatic coloratura soprano, Rodica Vica. She has a seamlessly-run, warm and Italian timbre voice.
In the scene in which she discovers the body of her father, Vica gave such a personal, credible and expressive drama, that it simply got goose bumps. Her scenic actions are not only full of fear and horror, but also full of guilt… Guilt of Donna Anna?
www.momus.hu