I PAGLIACCI in TOULOUSE, 03/2014
“Mais c’est la Nedda de Tamar Iveri qui emporte la plus belle victoire, soprano dardé et ductile, la plus musicienne de la troupe.”
“But it is Tamar Iveri (Nedda) who triumphs most – her soprano is well projected, versatile and she is the most musical singer of the ensemble.”
Emmanuel Dupuy, Diapason Magazine
“… the star of the evening was soprano Tamar Iveri as Nedda … she combined perfect acting, great finesse and intelligence … a superb voice, never forced, finely nuanced – I really adored her…”
“Mais pour moi la triomphatrice de la soirée fut la soprano Tamar Iveri en Nedda… je l’avais déjà entendue et appréciée dans Don Carlo l’année dernière (…), ce soir, elle fut enthousiasmante : un jeu parfait, d’une très grande finesse et plein d’intelligence, jusqu’au léger tremblement des mains et des lèvres Nedda (Tamar Iveri) et Tonio (Sergey Murzaev) durant la scene jouée devant les villageoislorsque Canio la menace et une voix superbe, jamais forcée, tout en nuance, j’ai vraiment adoré. Elle eu le moment de grâce de cette soirée avec un air des oiseaux intimiste, plein de charme, de légèreté et d’espoir. Son duo avec Silvio était également à tomber (plein de sensualité et d’amour). Mais ensuite dans la scène de colombine, elle sut être drôle au début, puis dès qu’elle eut compris qu’elle allait sûrement mourir, dramatique à souhait.”
Carayonk Blog
“… très belle Nedda de Tamar Iveri, à la fois dans la souplesse du chant et dans le jeu d’actrice…”
“… Tamar Iveri’s Nedda was beautiful both with regard to the flexibity of her singing and her play as an actress…”
Una furtiva lagrima Blog

LA CLEMENZA DI TITO at PARIS OPERA, 12/2013
“… a pugnacious Vitellia. With her velvet voice and accurate to perfect passage work she put her great instrument into service for singing Mozart.”
“… une Vitellia conquérante, voix en velours, vocalises probables sinon parfaites, elle dompte son grand instrument pour le mettre au service du chant mozartien.”
Jean-Charles Hoffelé, Concert Classic

DON CARLO at the VIENNA STATE OPERA, 10/2013
“… an impressive portrait of the role … The colour of her voice is bright and her voice is huge, also at the top register. Thanks to the beautiful, clear and elegant vocal lines, perfect phrasing, masterly sung piani and pianissimi in her big aria “Tu che le vanità” at the end of the opera she was the favourite of the audience. Bravissima!”
Harald Lacina, Der Neue Merker

SIMON BOCCANEGRA at the VIENNA STATE OPERA, 9/2013
Tamar Iveri was Amelia/Maria and sang her aria and all of the great duets with Adorno and Simone wonderfully. The attractive Lady from Georgia was also playing the role in an appropriate way and was convincing in every moment.”
Elena Habermann, Der Neue Merker

Don Carlo / Toulouse / June 2013
“Tamar Iveri nous a gratifie d’un magnifique “Tu che le vanita”. Quand on sait que cet air très difficile arrive sur la fin, au bout de plus de trois heures, c’est une performance. Tout au long de l’opera, elle a fait montre de toutes ses qualités avec une totale maitrise, avec ce qu’il faut de puissance aux moments indispensables…”
Michael Grialou, Culture 31

“… une Elisabeth toute en retenue, d’une dignité royale. (…) Le chant de Tamar Iveri nous retranscrit parfaitement tous les sentiments par lesquels elle passe tout au long de l’ouvrage, et elle nous tire les armes dans son air final “Tu che le vanità”: une bien belle artists.”
Corinne LeGac, Opera World

“Le couple qu’il [Dimitri Pittas] forme avec Tamar Iveri est très credible dans le jeu scénique et les voix sont magnifiquement assorties. La voix ronde et chaude de Tamar Iveri, sa capacité de nuances, l’égalité des registres et la variété de ses couleurs vocales font merveille. Le recherche de maîtrise de soi, comme la fierté face à son epoux violent font d’elle une reine admirable, certes victime de son destin, mais consciente des événements. Le duo final de l’opéra, après un “Tu che le vanità” absolument magnifique de ligne et d’équilibre des registres, est un pur moment de grâce.”
Hubert Stoecklin, ClassiqueNews.com

“Tamar Iveri est une Elisabeth aux aigus brillants, agiles qui s’oppose à la vocalité volcanique de l’Eboli de Christine Goerke.”
Marc Laborde, Utmisol

“Vocalment très sure, capable d’inflexions très subtiles…”
Anne-Marie Chouchan, La Depeche

“Tamar Iveri compose una très belle reine d’Espagne. … le chant est d’una grande beauté. Le timbre est velouté et homogène, le chant d’une grande élégance, tout en souplesse et nuances. La musicalité de Tamar Iveri est exceptionelle et offre una composition très juste d’une reine d’Espagne émouvante de douleur.”
Jean-Charles Jobart, ClassiqueInfo.com

Pagliacci / Nedda / Wiener Staatsoper / Feb. 2008
While an accomplished Mozartian, Iveri is today untouchable in the lirico-spinto repertoire in such roles as Adriana Lecouvreur, Desdemona and Suor Angelica. Despite her Georgian heritage, her voice is quintessentially Italianate in timbre. It is – or can be – a hefty sound when she lets loose, with a darkness redolent of Anita Cerquetti, but with a gorgeous, creamy tone tinged with silver and solid vocal production throughout the soprano range up to high C. A natural actress, she was easily Cura’s match.
MusicalAmerica.com, Larry L. Lash, February 21 2008

It is unfair that New York has, to date, heard Tamar Iveri only in Mozart. While she excels in his operas, she is most in-demand in Europe for the lirico-spintoroles in which she is untouchable, such as Adriana Lecouvreur, Suor Angelica, and Desdemona. This season alone, she sings Amelia in Simon Boccanegra and Donna Anna in Don Giovanni at the Wiener Staatsoper, where she is today the Mimì of choice. She now adds Nedda to her list of triumphs. Each performance from this exquisitely gifted artist reveals a new level — greater physical expression and absolutely flawless technique, all with a unique, dark, creamy timbre with an effortless silvery top. As Nedda she is gorgeous, sexy, sufficiently confident to embrace her lover and then hurl vile maledictions against the appropriately venomous attacks of Tichy’s gruff, seasoned Tonio.
Opera News, Larry L. Lash, May 2008

“Ein Glücksfall der besonderen Art erschien mit die Elettra der jungen georgischen Sängerin Tama Iveri.Sie schenkte der Rolle das dramatische Profil, überschwanglich-strömende Emotionen in traumhaften Sopranlagen- ein verheissungsvolles Talent, optisch wie akustisch ein Naturereignis!”
Der neue Merker / Juli 2011 über Mozart Idomeneo/Elettra

La Clemenza di Tito / MET / May 2008
The deposed emperor’s daughter, Vitellia – portrayed here by the bright-voiced, dynamic soprano Tamar Iveri.
The New York Times, Anthony Tommasini, May 5 2008

The imperious Vitellia, as played by Georgian soprano Tama Iveri, was so proud, so arrogant—and so evil—that her Act II surrender to the fates was all the more gripping. Her famous long aria, Non piu di fiori was a stunning demonstration of great voice.
ConcertoNet.com, Harry Rolnick, May 3 2008

Her rendition of the rondo ‘Non più di fiori’ showed both her ability to control her instrument and to bring nuance to the text. She was also very strong on the acting side.
MusicalCriticism.com, Dominic McHugh, May 8 2008

Georgia-born Tamar Iveri cleanly sculpted the dramatic and ornamented line of “Deh se piacer mi vuoi”, sung to Sesto, and climactic rondo “Non più di fiori”, as Vitellia prepared to confess her guilt about having conspired against Tito and dash her dream of being Empress just when Tito has proposed that she be his consort, in a highly colorful, flexible soprano. Iveri proved unafraid to use chest voice in the first aria; suffered grandly in the second; appeared visibly deflated in her exchange with Servilia, the presumed Empress, and assumed her rival was taunting her when she offered that Vitellia might yet take the throne; and hit a quick high D squarely, during an ornate figure on the word “gelo”, in the trio with Annio and Publio, “Vengo … aspettate …”, near the end of Act One.
OnStage.com, Bruce-Michael Gelbert

Pagliacci / Nedda / Wiener Staatsoper / Feb. 2008
While an accomplished Mozartian, Iveri is today untouchable in the lirico-spinto repertoire in such roles as Adriana Lecouvreur, Desdemona and Suor Angelica. Despite her Georgian heritage, her voice is quintessentially Italianate in timbre. It is – or can be – a hefty sound when she lets loose, with a darkness redolent of Anita Cerquetti, but with a gorgeous, creamy tone tinged with silver and solid vocal production throughout the soprano range up to high C. A natural actress, she was easily Cura’s match.
MusicalAmerica.com, Larry L. Lash, February 21 2008

It is unfair that New York has, to date, heard Tamar Iveri only in Mozart. While she excels in his operas, she is most in-demand in Europe for the lirico-spintoroles in which she is untouchable, such as Adriana Lecouvreur, Suor Angelica, and Desdemona. This season alone, she sings Amelia in Simon Boccanegra and Donna Anna in Don Giovanni at the Wiener Staatsoper, where she is today the Mimì of choice. She now adds Nedda to her list of triumphs. Each performance from this exquisitely gifted artist reveals a new level — greater physical expression and absolutely flawless technique, all with a unique, dark, creamy timbre with an effortless silvery top. As Nedda she is gorgeous, sexy, sufficiently confident to embrace her lover and then hurl vile maledictions against the appropriately venomous attacks of Tichy’s gruff, seasoned Tonio.
Opera News, Larry L. Lash, May 2008

Simone Boccanegra / Amelia / Wiener Staatsoper / April 2007
Das zweite Debüt des Abends gestaltete Tamar Iveri als Maria/Amelia. Eine schöne warme Stimme, die allen Anforderungen der Rolle gewachsen ist. Die junge Georgierin kann auch darstellerisch überzeugen, somit war sie einer der Pluspunkte des Abends.
Der neue Merker, Elena Habermann, 7. April 2007

Faust / Marguerite / Houston Grand Opera / Jan./Feb. 2007
Tamar Iveri from once-Soviet Georgia, is an un-Germanic Marguerite, happily freed from the blond braids and dirndl that — for those old enough to remember that era — often make her seem a survivor of the Hitler Youth. Overflowing with youthful elan as the work opens, Iveri is deeply feminine and movingly vulnerable as she moves through love to tragedy.

She explores the wonder of passion touchingly in the ballad “King in Thule.” Her “Jewel Song” is both jubilant and pensive, and she portrays Marguerite’s Ophelia-inspired derangement in the prison scene with Shakespearean pathos.
Opera Today, Wes Blomster

“Magic Moment” – Georgian soprano Tamar Iveri is blessed with a singularly beautiful, velvety voice and the dramatic instincts of Bernhardt. She breezed through Marguerite’s famous “Jewel Song” with youthful exuberance, and later, when the opera turned somber after her seduction and abandonment by Faust, indelibly impressed as the mad murderess who is granted divine salvation in the radiant trio “Angels pure, angels radiant.” Anyone with a voice like this goes straight to opera heaven.
Houston Press, D.L. Groover

Don Giovanni / Donna Anna / MET New York / July 2006
In her MET debut, Tamar Iveri was a superb Donna Anna with incisive and powerful majestetic singing, making both her arias, especially the remarkable slow opening of “Non mi dir”, the evening’s musical highlight.
Opera News, June 2005

Tamar Iveri was fiery as Donna Anna, the aristocratic lady who starts off a very bad day for Don Giovanni — the last day of his life. The soprano from the republic of Georgia has a gleaming, focused voice that created excitement as it cleaved the air in the vengeance aria. She was skating on thin ice in the second aria, but she managed the spins and turns cautiously. Her pluck earned her a big hand.
The Boston Globe, Richard Dyer, July 24 2006