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PRESS


08/02/2022



«

Probably the most blatant performance on the final day was given by the Ukrainian singer and pianist Viktoriia Vitrenko under the title "Limbo": as an astonished stage figure completely wrapped in gauze bandages, she also described pandemic conditions between isolation and limbo: great voice, strong performance. 

»


Otto Paul Burkhard
SÜDWEST PRESSE | 08.02.2022 | ECLAT FESTIVAL

 PRESS



«

Perhaps the most lasting impression in the festival, however, was left by Viktoriia Vitrenko's solo performance "Limbo". Not only because the Ukrainian pianist, singer and performer combined several song cycles into a complete work of art. The intense performance also included a video showing Maria Kolesnikova at one of the demonstrations in Minsk. She and Vitrenko know each other well; she dedicated this moving evening to her. Towards the end, she can hardly hold back her tears. Kolesnikova's spirit is present here every minute. Nobody knows at the moment how she is doing in prison. But she is not forgotten.

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Elisabeth Schwind
SÜDKURIER | 09.02.2022 | ECLAT FESTIVAL


«

The Ukrainian artist Viktoriia Vitrenko glides between speaking, screaming, singing and croaking in the programme called "Limbo". The opening "3 Songs" by the Polish composer Agata Zubel set the dramaturgical tone. The vocal part, which does without lyrics, seems almost existentialist, but its iridescence is all the more moving, which is intensified in an interesting way by the sound of the prepared piano. The clanging, plopping and grumbling of the piano creates a rich spectrum of colour. It is fascinating to observe how Viktoriia Vitrenko really consumes herself in the almost two-hour programme. She sings and accompanies herself on the piano and elevates the whole thing to a performance (directed by Titus Selge). The stage evokes memories of a prison cell with a barred window and a dirty toilet bowl. Wrapped in a blanket, Vitrenko initially crouches under the piano, crawls out and emerges as a living mummy, wrapped in white bandages. Little by little, she reveals herself, repeatedly exposing (made-up) injuries that go hand in hand with a political dimension. This becomes most apparent in Ying Wang's "Illuminations", in which a show trial in China and the Belarusian civil rights activist Maria Kalesnikava are shown in video clips. Wistfulness spreads at the end of Maxim Shalygin's song cycle "Songs of Youth". Echoes of traditional folk art characterise the seven songs with their melancholy gesture, which leads purposefully to the concluding "Agnus Dei", which is designed as a lament with a great final climax.

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Markus Dippold
Stuttgarter Zeitung | 08.02.2022 | ECLAT FESTIVAL






PRESS

29/09/2021


Soprano Viktoriia Vitrenko in conversation with SWR2 about the "InSzene: Vokal" fellowship program of the Deutsche Musikrat.

SWR2


 NEWS


15/09/2021


Viktoriia Vitrenko have been selected for the program "InSzene Vokal" of the Deutscher Musikrat which supports young singers in contemporary music.






PRESS

«
Schuberts Lieder, erst vom Komponisten Bernhard Lang in Loops getrieben („The cold Trip“, 2. Teil) und mit einer rafnierten Neudeutung von Purcells Frost-Arie umrahmt, dann von den Künstlern selbst mit Techno- und Hip-Hop-Sounds, Jazz und Soul hochenergetisch in unsere Zeit katapultiert, gingen einem beim „Schubert Remix“ nicht nur zu Herzen, sondern auch in den Bauch. Schubert, meinen der Pianist Vitaly Kiyanitsy und die Sängerin Viktoriia Vitrenko, sei „der größte Songwriter aller Zeiten“. Wer ihnen zuhört, möchte das sofort glauben.

»

STUTTGARTER ZETUNG | SUSANNE BENDA | 23/07/202



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