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Thrilling Debut @ Konzerthaus Berlin

In September 2019 soprano Rodica Vica will made her debut at Konzerthaus Berlin with the Queen's part from George Enescu's Ghosts (Strigoii) alongside Rundfunk- Sinfonieorchester Berlin and led by conductor Gabriel Bebeșelea.


Considered to be one of the most interesting Romanian singers of her generation, Rodica Vica’s dramatic coloratura voice is being highly appreciated among the borders of her country as well as abroad. A versatile artist, Rodica Vica is at her ease in bravery baroque and belcanto repertoire.

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Violetta Valéry from la Traviata by G. Verdi
Die Königin der Nacht from Die Zauberflöte by W. A. Mozart
Donna Anna from Don Giovanni by W. A. Mozart
Alcina from Alcina by G. Fr. Haendel
Lucia from Lucia di Lammermoor by G. Donizetti
Gilda from Rigoletto by G. Verdi
Lucrezia Borgia from Lucrezia Borgia by G. Donizetti
Rosina from Il Barbiere di Siviglia by G. Rossini
Norina from Don Pasquale by G. Donizetti
Clorinda from La Cenerentola by G. Rossini
Frasquita from Carmen by G. Bizet
Giannetta from L’elisir d’amore by G. Donizetti
Rita from Rita by G. Donizetti
Rosa from Le cantatrice villane by V. Fioravanti
Amelia from Amelia al ballo by G. C. Menotti
Belinda from Dido and Aeneas by H. Purcell
Damon from Acis and Galatea by G. Fr. Haendel
Nerina from Le Pescatrici by J. Haydn
Le Feu from L’enfant et les sortileges by M. Ravel

Symphony no. 4 by G. Mahler
Carmina Burana by C. Orff
Requiem by W. A. Mozart
Stabat Mater by G. Pergolesi
Stabat Mater by G. Rossini
Gloria by A. Vivaldi
La Resurrezione by F. Haendel
Exsultate, jubilate by W. A. Mozart
Die Schöpfung by J. Haydn
Ein Deutsches Requiem by J. Brahms

Jauchzet Gott in allen Landen BWV 51 by J. S. Bach
Süßer Trost, mein Jesus kömmt BWV 151 by J. S. Bach
Ihr, die ihr euch von Christo nennet BWV 164 by J. S. Bach






….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.
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
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?


Rodica Vică: Toate rolurile pe care le interpretez sunt parte din mine

RODICA VICA despre debutul ei absolut in Donna Anna

Viata cu mine este o piesa de teatru.

Soprana Rodica Vica debuteaza astazi intr-o serie de trei evenimente muzicale la Venetia