Why Jason cannot liberate himself from this woman, although given her fate she turned into a murdering fury, is made obvious by Iano Tamar, a phenomenal stage appearance, who not only copes with the exigencies which are close to barbarity, but she knows how to turn them into dramatic events with an impressive presence. The sudden changes between melifluous gesture and surge full of hatred, the undertone which just suggests to the listener and just not suggests to the stage-counterpart, the fact that behind everything and everybody this woman is venturing lurks desire for revenge, all this becomes an event within Tamar’s art of singing and acting.

Even more convincing Iano Tamar as brave and precise acting, voicewise competent Medée.

Jubilance especially for Iano Tamar.
The Georgia-born Singer - just as Medée herself - acted more than convincing and acclaimed with good reason: emotional, with strong voice, top-acting on stage.

Iano Tamar beherrscht das Bühnen-Treiben, obwohl sie als zarte, gramgebeugte Medea beginnt: Zum Kindsmord fähig wird sie bei Regisseur Torsten Fischer erst allmählich, durch das erlittene Unbill in einer grausamen Gesellschaft. Sängerisch versiert, darstellerisch passioniert, meißelt Iano Tamar das Drama in gluthelle Spitzentöne.

Iano Tamar is full of passion, love, hatred and desire for revenge, she boosts her intensity in a truly incredible way and in act 3, after a long (7 minutes) and enormous orchestra introduction, she is truly terrific in her big aria „O Tisiphone“, wanting to even say she’s incomparable. One is totally bewiched, that’s how intense this scene is. Overwhelming was therefore also the applause, which this singer received.

Standing ovations for this production and above all for Iano Tamar. Tamar is one of those rare singers, who complies vocally aswell as in her acting with Medée in every sense. Her dark dramatic soprano, which masters the delicate coloraturas just as easily as the lower passages, is a real treat and a role discovery for Vienna. Brava!

Hervorragend Iano Tamar: Die Figuren Francesca und Paolo, die musikalisch Verblichenen, wurden von der packenden Georgierin Iano Tamar und dem Tenor Sergey Kunaev verkörpert.

Iano Tamar spans convincingly the emotional bow from deep spirituality to madness.

Iano Tamar as Elettra glanced at the final aria full with dark drama.

Estonishing, how present a diva as Iano Tamar can be on this huge stage with her smooth voice, saved from the world of belcanto to the Verdi repertory.

Iano Tamar, Amelia in "Un Ballo in Maschera" in Bregenz years before, knows to use this stage with great success.She jumps with beauty over the oil-polluted floor and shows the passion of Leonora with her dark-timbred voice and blooming coloraturas.

Iano Tamar convinces with beautiful smooth timbre and has big moments with her erotic dark middle range.

Brilliant: Iano Tamar.

Iano Tamar as lyrical Leonora full of nuances is pure joy.

Iano Tamar is a Leonora with great voice and even greater performance. Her passion bewitches as soon as she leaves the chique cabrio to enter the decadent party in the factory. She loves the festival and its elegant stage, says Iano Tamar, who sang seven years ago Amelia in Verdi's "Un ballo in maschera" on this stage.

Iano Tamar convinced with her marvellous dark Soprano, singing easily against this giant orchestra and chorus.

The Georgian Soprano Iano Tamar is an impulsive and at the same time passionate Tosca. Before the murderer scene she is a meticulous observer with an ambiguous, seductive glance, which keeps distance as well as cold blood. Her performance, others appear often too monotonous, impresses with an ample variety of constantly changing psychological nuances. Her middle voice is great and her singing line is exactly defined. The subtle nuances in her Timbre together with her sensational stage appearence proves the maturity of her interpretation.

Iano Tamar's powerful voice offers best possible interpretation of Rachel, a dramatic soprano part.

Iano Tamar embodied the heart breaking and fastidious role of Rachel with intimate delicacy and moving dramatic outbreaks.

Iano Tamar was a passionate Rachel, ready for sacrifice. She mastered her part, which requires a lot of power in the central register, with accuracy and proved at the same time easy controlling of the top tones.

The beautiful Mathilde of Iano Tamar demonstrates the art of the fine tuning with taste, in the midst almost aspirated pianos.

Iano Tamar is an elegant Mathilde. Her soprano is very sensitive, beautifully led and technically splendid.

Iano Tamar a noble Mathilde.

Singer's performance on high level. Much applause for Marcello Giordani as Arnold and Iano Tamar as Mathilde.

Curiously expected Iano Tamar as Mathilde, who sang for the first time the full version of the aria in the third act.

The soprano perfect, more than respectably performed.

Iano Tamar sang Mathilde and convinced by most beautiful control of the French style. The auditorium acclaimed her aria "Pour notre amour" in the 3rd act.

I loved particularly Iano Tamar, who was for sure the best Mathilde (with full version of 2nd aria), who was ever to be heard at the Vienna State Opera.

Iano Tamar with her dark velvet voive, as Elizabeth.

Iano Tamar as Elizabeth is a real first cast.

The best is Iano Tamar as Elizabeth!

Iano Tamar as Elizabeth with a beautiful dark velvet voice, singing her big aria markless.

Iano Tamar as noble Elizabeth, with a noble timbre and aristocratic appearence.

A highligh Iano Tamar as Elizebth, who convinces with perfect singing and a dark timbre.

Vargas found in the Georgian Soprano Iano Tamar a noble Elizabeth with a smooth dark velvet voice.

Iano Tamar highly acclaimed for her sumptuous, well led Soprano.

Iano Tamar, who sang the lady already in Cologne, at the German Opera Berlin and elsewhere and is documented in the 1847-version on CD, won further profile in the hybrid part, in her acting as well as regarding her text interpretation. Vocally she is