Musical Theatre Festival, PRAGUE 2017, Gianni Schicchi
The Opera Ensemble of the Slovak National Theater visited Prague. At the Opera 2017 Musical Theater Festival they introduced three singles by Giacomo Puccini at the National Theater. The most successful of the operatic triplets – known as the Triptych – performed, was the comedy Gianni Schicchi, in which Gustav Beláček excels. Hopefully the creators of recent Prague comedic productions, not having been successful at all, were present. If not, they should go to Bratislava.
Most of all, it is Beláček sparkling temperament in the title role, who – without exaggeration – performed with actor and singer mastership. Beauty of opera singing in his blend comes with even dramatic elements, but with ease and naturally, without any sign of effort or pretence. Enchanted listener believes each of his parlando, and after the performance a man starts to think about the last time he saw such a comedic singer on the stages of the National Theater.
CT 24, Prague, Review: Bratislava gave Prague a lesson of opera humour. Vivat Beláček! / 29. 9. 2017 by Jakub Kozisek
The star of Gianni Schicchi is undoubtedly a Slovak bass (!) Gustav Beláček (Gianni). Dressed like a Slovak-Italian mafioso who always knows what to do, he enjoys his role to the full in a series of irresistible gags. The sonorous voice is an excellent fit for a man whom nothing may stagger.
Opera plus,” Melodrama, tragedy and comedy or Triptych from Bratislava”,David Chaloupka, 09.29.2017
Ravel L´heure espagniole, SND Bratislava
Gustav Beláček sung (Banker Don Inigo) himself with his own certainty and always one hundred percent profesionalism
Opera Slovakia, Terezia Ursinyova, 09. 25. 2017
PUCCINI: GIANNI SCHICCHI, Slovak National Theatre
Schicchi was vocal and acting excellence of Gustáv Beláček in the first casting. His natural comedian performance, skittishness, the drive, with which he performed larky Gianni – in stage monologue and also in dialogue witht owns folks, in imitation of the death voice of Mr. Donati – were irresistible. Not only through hisacting, but also with bariton ecertainty, voice maturity in each phrase and tone.
Opera Slovakia, Terézia Ursýniová, 22. 02. 2017
He choice to play the leading role by Gustáv Beláček was an excellen tone. He played young, temperament plebeian Laurenttina´s father (some relative of Rossini´s Figaro) with a lot of characterizational ideas and even more – unless his part permitted it – through his pithy and metal bass-baritone he sang this part in stylish cantilena.
OperaPlus, Pavel Unger 20. Februar 2017
JANACEK: THE MAKROPULOS AFFAIR, BBC Prom 45, Royal Alber Hall, Jiri Belohlavek conductor
The lines of Dr Dr. Kolenatý (Gustáv Beláček) are long and ponderous.
OPERA Today, Oclasica.uk, Anne Ozorio, 20. August 2016
The extraordinary cast succeeded in bringing the story to life. Gustáv Beláček (Dr Kolenatý) sang with richness and depth as Emilia’s pawns in the had ever dreamed.
Trend FEM, Opera Reviews by MaryGNguyen, Saturday, 20 August 2016
…Gustáv Beláček made a smooth schemer of Dr Kolenatý.
Financial Times byChris Christodlou, ‘Searing’
…too numerous to mention in full, there were telling performances from Aleš Briscein (Albert Gregor) and Gustáv Beláček (Dr Kolenaty).
MUSICOMH, 19 August 2016 by Keith McDonnell
…as Gustáv Beláček’s lawyer Kolenatý, also has a future in major roles.
The desk.com, Opera reviews, by David Nice, 20. August 2016
JANACEK: DIE SACHE MAKROPULOS, Bayerische Oper Munchen, Tomas Hanus dirigent
Dabei stellt sie nicht nur die Berufsehre des Gregor-Advokaten Dr. Kolenatý (Gustáv Beláček, präzise und warm) auf eine harte Probe, indem sie ihn dazu bringt, einen Einbruch bei der Partei Prus zu begehen. Mit ihrer starken Persönlichkeit…..
Wurzburg erleben am 23. 04. 2016
SCHUBERT: WINERREISE, Slowakische Philharmony Reduta, Bratislava
Sentimentálne štruktúry sa odrazili v Beláčkovej interpretácii, v ktorej sa basbarytonista snažil prelomiť lyrickú a realistickú hranicu v putovaní hlavného hrdinu. V skladbách sa objavil „bod zlomu“ práve v pasážach prechodu medzi recitáciou a operným prejavom. Vniknutie epicko-dramatického prvku sa udialo prirodzene, bez zbytočného afektu, ktorý väčšinou ničí koncertné prevedenia – čo mnoho operných spevákov niekedy nedokáže pochopiť.
OperaPlus, Daniel Hevier jun., 24. 02. 2016
PUCCINI: TOSCA, Slezská Opera Opava, Francesco Bottigliero dirigent
Večeru kraloval Scarpia Gustava Beláčka a nutno zdůraznit, že to byl Scarpia svižný, pohledný, patřičně dominantní, velmi nebezpečný svou bezohledností a sebejistotou. Jeho hlasový projev vyhovoval této roli bezezbytku.
TOSCA v Opavě, Olga Janáčková, Opera Plus 22. 10.2015
Opera Muscat, Antonin Dvorak RUSALKA
A brilliant performance was given by bass singer Gustav Belacek, perfectly cast in the role of Vodnik, king underwater realm. Belacek´s vodnik is a tall, impressive figure with a noble face and long white hair, clad in floowing robes that move and glisten as f in water currents.
Times of Oman, Opera Muscat, Patricia Groves, May 15, 2014
VERDI: NABUCCO, Villach, Gastspiel des Opernauses Brünn
Lichtblicke waren hingegen Gustáv Belácek als warmstimmiger Zaccaria, ….
08.10.2013,Verdis “Nabucco” , HELMUT CHRISTI
MOZART: DON GIOVANNI, Janacek Oper Brno, Peter Feranec, dirigent
„Auch Gustáv Beláček besitzt eine eidrucksvolle Stimme, kann Mozarts Linien singen. Er ist darstellerisch gewandt und spielt einen selbstbewussten Diener, der mehr ein Kumpan als Untertan des Giovanni ist.
Der Neue Merker, 17. 05. 2013, Martin Robert BOTZ, großartigen „Don Giovanni“ als letzte Saison-Premiere in Brunn.
„“Leporello Gustáva Beláčka se znělým jadrným pohyblivým basem projevuje své pocity zřetelněji, když dává průchod především naštvanosti na svého pána, kterému neslouží nijak nadšeně. Při rejstříkové árii seznam Giovanniho krásek vytahuje na motácích umístěných na krempě klobouku…”
OperaPlus, OPERNÍ PANORAMA Heleny Havlíkové, 21. 05. 2013
MOZART: DON GIOVANNI, Slowakische National Theatre Bratislava
Gustav Belacek, sein Diener Leporello, war ein Turm in der Schlacht. Auch hier war genug Kraft und Spielwitz vorhanden, wie es die Rolle erfordert.
DER NEUE MERKER, 04.05.2013 Bratislava/SND „Don Giovanni“, Johannes Marksteiner
DVORAK: STABAT MATER, Slowakische Philharmony Orchestra Bratislava
Tmavý, mäkký bas Gustáva Beláčka, ktorý iba pred pár dňami spieval basové sólo vo Verdiho Rekviem. Nuž, Peter Mikuláš, ktorý najčastejšie spieval basové party oratórií a omší so Slovenskou filharmóniou a ďalšími slovenskými (i zahraničnými) telesami, má už mladšieho a rovnako zdatného kolegu, ktorý preukazuje vysokú profesionalitu vo vokálno-technickej aj výrazovej zložke prejavu
Dvořák v česko-slovenské interpretaci, Opera Plus, 29. 3. 2013 21:40 Terézia Ursínyová
MASSENET: MARIE- MAGDELEINE, Brucknerhaus Linz, Leoš Svárovský dirigent
…begeisterte und grossartig Gustav Belacek als Judas.
Opernsensation im Brucknerhaus, OONachrischten, 25. Marz 2013, Michael Wruss
VERDI: UN BALLO IN MASCHERA, Theater Basel, Vera Nemirova regie
…und Gustáv Beláček geben die Verschworer in ihrer ganzen Menschenverachtung. Da ist die Kalte, di ein Grundton dieser Oper ist.
Basellandschaftliche Zeitung, 17. Dezember 2012, Christian Fluri
JANACEK: VĚC MAKROPULOS, Janáčkova Opera Brno, Robert Carsen staging director
Doktor Kolenatý bol živelný, neurotický, asertívny ale i rafinovaný a logický seladón, ktorého Gustáv Beláček obdaril vynikajúcou výslovnosťou a farebných basom, ktorým sa nesnažil o skvostné spievanie ako ho poznáme u neho z veľkých basových partov, ale dal hlas do služieb psychológie a charakteru postavy.
OperaPLUS, 26. 11/2012 Pavol Juráš
Mariss Jansons conducts Schubert and Gounod
Live-Recording, Munich, Herkulessaal, Luba Orgonášová (soprano), Christian Elsner (tenor) & Gustáv Beláček (bass) – Chor und Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons
splendidly controlled by Mariss Jansons. There is also a fine tenor solo from Christian Elsner in the ‘Sanctus’, and both performance and recording do well with the three soloists in ‘et incarnatus’,…
International Record Review, February 2012
JANACEK: DIE SACHE MAKROPULOS, Staatstheater Nurnberg, Robert Carsen staging
Der resolute Anwalt Kolenatý, durchschlagskräftig gesungen von dem slowakischen Bass Gustáv Belácek, kündigt im ersten Akt die baldige Entscheidung des Erbschaftsstreits Prus gegen Gregor an,…..
Kulturonline am 24. 06. 2012, Maria Hammerich-Maier
PUCCINI: MANON LESCAUT, Slowakische National Theatre Bratislava
Adekvátním protějškem (Lescauta- Pavol Remenár) je Gustáv Beláček (Geronte de Ravoir), jehož bas je nosný a herecky dokáže úspornými prostředky přejít z dobromyslného šejdíře přes komického amanta až k pomstychtivému sobci.
Hudební Rozhledy, 12/2009 Karla Hoffmanová
DONIZETTI: L´ELISIR D´AMORE, Slowakische National Theatre Bratislava
Gustáv Beláček ako Dulcamara síce nie je typickým buffo basom – tento fach často suplujú v talianskom teritóriu aj barytonisti – no jeho basbarytón je dostatočne pohyblivý a umelec všestranný, aby vytvoril figúru slohovo čistú, veselú a korektne odspievanú.
Opera Plus, Pavel Unger, 7. 3. 2012, V Opeře SND namíchali pětihvězdičkový nápoj Kucerova, Breslik, Belacek
DVORAK: RUSALKA, Semperoper Dresden, Tomas Netopil conductor, Stefan Herheim regie
The cast aren’t big-name, but they all gave more than solid performances, led by the tireless Gustáv Belácek as the Waterman.
Intermezzo, 24.Mai 2011, Fishy Business
Gustáv Belácek as the Water Gnome was a fascinating protagonist through the production’s heavy demands, and sung with warm sound and ease.
Likely Impossibilities, Tuesday, May 31, 2011 Stefan Herheim´s coast of Bohemia
MASSENET: MARIE- MAGDELEINE, Rheingau Music Festival, Kloster Eberbach, Leos Svarovsky dirigent
Die Glanzleistung des Abends steuert Judas bei Gustáv Beláček nimmt die Leuchtkraft seines Basses bis in die Tiefe des Bosewichts mit. Im Duett mit der Altistin vereinigt er Vorzuge von Buhnenmusik und tonendem Glaubensbekenntnis.
Echo online, 30. August 2010 von Christian Knatz
DVORAK: RUSALKA, Oper Graz, Stefan Herheim regie
Von den Protagonisten begeistert mich hervoragend der Wassermann von Gustav Belacek.
Der Neue Merker am 08. Marz 2010, Peter Dusek
Gustav Belacek ist ein fast dämonischer Wassermann mit wärmer, volltonender Stimme…
Steiermark 19. 12. 2009, Karin Zehetleitner
Gustav Belacek ist ein ebenso starker Wassermann, der nicht zu poltern Brecht, um Präsenz zu zeigen, und der letztlich auch die Leiden und die Verzweiflung der Figur darzustellen vermag.
Kronenzeitung, 20. Dezember 2009 von Martin Gasser
Gustáv Belácek in seinen Lebensstationen ueberzeugend dargestellt, sowohl als frustierter Ehemann, ale Wassermann, zuletzt als Morder seiner Frau. Stimlich ist sein Bassmerklich italienisch geschult.
Der Neue Merker, aus Premiere 18. 12. 2009, Peter SKOREPA
VERDI: AIDA, Stadttheater Klagenfurt
…und Gustáv Beláček als zynischer Ramphis runden einen vokal glänzvollen Abend ab.
Die Presse, Wien, 14. Mai 2010, hasl
JANACEK: THE CUNNING LITTLE VIXEN, Teatro del Maggio Musicale Fiorentino, Seiji Ozawa conductor, Laurent Pelly regie
…der Sprachklang des „Fuchsleins“ klar heraus, wobei der slowakische bass Gustav Belaček als Landstreicher jenem mahrischen Dialekt wohl am nachsten kommt, den Janaček im Ohr hatte, als er Libretto und die Musik schreib. Seine Auftrittsarie im drittem Akt (Dež sem vandroval) singt Belaček mit sorglosen Schmiss, so mitreissend, dass er dafur begeisterten Szeneapplaus erntet.
Opernwelt, Januar 2010, Carlo Vitali aus dem Englischen von Albrecht Thiemann
Variabile dal discreto all´ottimo il resto dell´affollatissimo cast, dove si deve sottolineare le valide prove di Gustáv Beláček come Harašta.
OPERACLICK, 8. 11. 2009, Fabrizio Moschini
JANACEK: DIE SACHE MAKROPULOS, Deutsche Oper am Rhein Dusseldorf, Wan Pin Chien dirigent
Gustav Belacek verlieh dem Advokatem Dr. Kolenaty markant sympatische Zuge mit seinem wohltimbrierten Bariton“.
Belcantistischer Opernkrimi, Der- Neue- Merker am 08. Feb. 2009 in Dusseldorf, Der Neue Merker
MASSENET: MARIE- MAGDELEINE, Rheingau Int. Festival, Closter Eberbach
…Gustáv Beláček creates the role of Judas, which shows up the most plasticly in the Massenets Drama, using his dark natured and charaktered bass voice. He stands right on the edge between friendship and treason …
Frankfurter Rundschau, 30. 08. 2010, Jules Massenet- Marie Magdeleine, from Stefan Schickhaus
…Judas brings up the briliant performance of the evening: Gustav Belacek leads up the amazing power of his bass to the very nature of the fiend; during the duet with alto he´s combining the perfection of the stage music with the enthusiastic declaration of religion.
DARMSTÄDTER ECHO, 30.08.2010, Christian Knatz
MARTINU: HRY O MARII, Slovak National Opera Bratislava
„Intenzívne stvárnenou postavou Diabla, najmä farebnosťou a prieraznosťou tónu aj v barytónovej polohe, zaujal Gustáv Beláček.
Hudobný život, 10/2009, Pavel Unger
TCHAIKOWSKY: EUGEN ONEGIN, Det kongelige Teater Operaen Copenhagen, Peter Konwitschny staging director
YOU CANNOT BLAME TATJANA FOR REMAINING FAITHFUL TO GREMIN DESPITE EVERYTHING. NOT LEAST DUE TO GUSTAV BELACEK´S POWERFUL AND THROUGHLY CONVINCING PERFORMANCE IN SUCH A MINOR ROLE , IN WNICH HE RISES FAR ABOVE JUST BEING A HARMLESS ARISTOCRAT.
Jyllands- Posten, 7. September 2009, Jakob Levinsen
GUSTAV BELACEK´S RESONANT BASS VOICE IN THE ROLE OF GREMIN IS YET ANOTHER REASON TO CHOOSE THE OPENING NIGHT ´S CAST.
Politiken, 8. September 2009, Thomas Michelsen
THE SLOVAK BASSBARITONE , GUSTAV BELACEK, WAS AN AUTHORITATIVE AND MOVING GREMIN.
Berlingske Tidende, 8. september 2009, Af Soren Kassebeer
GUSTAV BELACEK FROM „Rusalka“ – BEAUTIFULLY SANG THE ROLE AS THE PRINCE GREMIN.
Frederiksborgamtavis, 8. September 2009, K. Cornelius
ROSSINI: DIE ITALIENERIN IN ALGHIERI, Badische Staatstheatr Karlsruhe, Yekta Kara regie
Der Mustafa Gustáv Beláceks glänzt mit elegantne Basskoloraturen und trumpft mit ueberzeugenden Wutanfällen auf,…
Badische Neueste Nachrichten, 9. Juni 2009, Bigitta Schmid
Ein in jeder Hinsicht hervorragender Mustafa war GUSTAV BELACEK, der seiner Rolle sowohl darstellerisch als auch gesanglich ein treffliches Profil verlieh.
Der Neue Merker, 9. Juni 2009 Ludwig Steinbach
Ohnehin gebuhrt das grosste Lob Gustáv Belácek, der den Mustafa mit klangschoener und beweglicher Stimme ausstattet…
Stuttgarter Zeitung, 9. Juni 2008 von Markus Dippold
DVORAK: RUSALKA, Det kongelige Teater Operaen Copenhagen, Richard Jones staging director
„…,and Gustáv Beláček a worried caring father. As a singer he is a model,…“
Weekendavisen, 7. Marts 2008, Peter Johannes Erichsen
„Als ein Zeuge einer Tragodie steht in der ersten Reihe der Parter, der Wassermann, Rusalkas Vater, gesungen wunderschoen und beandruckend von Gustáv Beláček,…“
Information, 5. Marts, Georg Metz
„….and Water sprite, the father of Rusalka not only possesses a unique voice, he feels at home in his pronounciation as well.“
Kristeligt-dagblad, 5. Marks 2008 Mikael Garnaes
Schubert G- Dur MESSE, Gounod- Cäcilien- Messe, Herrkules Saal Munchen, Bayerische Rundfunkorchester, Mariss Jansons dirigent
„…dank dem Solistentrio (Luba Orgonasova, Christian Elsner, Gustav Belacek). Schubert klang zart, zerbrechlich…“
Solothurnes Zeitung, 02. 04. 2007 Christian Berzins
HANDEL/MOZART :MESSIAH, Brucknerhaus Linz, Dennis Russel Davies dirigent
„…der Bassist Gustáv Belácek „ein Geheimnis“ anzukunden, noch eine Posaune zum Erschallen bringen“.
Kronen Zeitung, 22. Dezember 2006, Norbert Trawoger
„…der mächtige Opernbass Gustav Belacek fugte sich stilistisch nach ganz ideal ein.“
Neues Volksblatt, 22. Dezember 2006
TSCHAIKOWSKY: EUGEN ONEGIN, Slovak National Theatre Bratislava, Peter Konwitschny staging director
Gremin delivers his aria from a box over the stage, demostrating his imposing and aristocratic stature- something emhasized too in the smooth, dark bass of Gustáv Beláček, who made the middle sectionb of the aria more then usually confrontational.
OPERA, March 2006 by John Allison
DONIZETTI: Lucia di Lammermoor, Prague State Opera
“Gustáv Beláčék representing a man who was looking after Lucia, showed a unique capacity not only as an excellent singer, but also as a priest interiguering under the cover of his dignity…”
PRÁVO, 4.10.2004, by Radmila Hrdinová,
“Other roles were sung at a high level by bariton Ivan Kusnjer (Enrico) and the bass Gustáv Beláček (Raimondo)…”
MLADÁ FRONTA DNES,7.10.2004, by Viera Drápelová
JANACEK: GLAGOLITIC MASS, Royal Albert Hall, Prom 16, London Philh. Orchestra, Kurt Masur, conductor
…after interval this fine choir from Brno returned with the LPO, Slovak soloists (Pavol Breslik and Gustav Belacek….a roof-raising performance of the Janacek masterpiece, Glagolitic Mass…spendid choir, soloists just right and the organ solo …stunning!
The Telegraph, The Guardian- excerpts, 28. July 2004
DVORAK: THE STUBBORN LOVERS/Tvrdé palice, CD reviews – Prague Philharmonic – Jiři Belohlávek, conductor
„…Rather like Alfonso in Cosi fan tutte, Rericha is the manipulator, contributing to almost every number. It’s a role strongly taken by the bass Gustáv Belácek, coping splendidly with solos that are rather like patter-songs…“
www.gramaphon.co.uk, september 2004, by Edward Greenfield
… Gustáv Beláček shows a nimble comic touch as the clever Don Alfonso figure who oils the plot…
Arts Telegraph 04.07.2004 – by Richard Wigmore
…The cheming, smart Řeřicha is sung by the Bass Gustáv Beláček, and while he sounds somewhat too young for the part, he is musical and convincing as the rest.
Classics Today 14.08.2004 – by Robert Levine
MAHLER: WUNDERHORN SONGS, Berlin Symphonic Orchestra – Lior Shambadal, conductor; Berlin
…One must describe the cooperation with the lovely soprano Bernarda Finks into Mahlers wunderhorn songs and the dialogue of the orchestra with the high carat baritone Gustav Belaček!
Reviews Berliner Tagesspiegel Zeitung,15.03.2004, by Carsten Niemann
BARTOK: BLUEBEARD´S CASTLE; Slovak National Theatre; Bratislava
…Singing in Hungarian is not an easy job, but Gustav Belacek managed to do it extremely well besides doing everything the stage director intended. With a shirmering, even voice, he was able to be expresive with a wide range of dynamics.
Pravda, Slovakia, november 2003, by Pavel Unger
DVORAK :THE SPECTRE´S BRIDE, Czech Radio Symphony Orchestra,Miroslav Válek, conductor
Bas narrator Beláček Gustav, which together with the Dvorak left the choir’s cantata commenting in part to impress with sounded and yet highly cultivated timbre. But the fact that Beláček easily go the funny characters and sprightly, attentive listeners will certainly notice on the surface especially in the 16th call (recording at 17).
MUZIKUS.cz, Dvorak-The Spectre´s Bride, 28.06.2003 by Tereza Kibicova
ROSSINI: L´ITALIANA IN ALGERI, Canadian Opera Company Toronto, Richard Bradshaw conductor
The richest vocal performance are by Gustav Belacek as Mustafa. Belacek is sturdy, imperious, boastful, and follish, managing to act almost as well as he sings. He survives the absurd Pappataci sequence with flying colours, and helps make the opera and production bearable when they both show signs of weakening inventiveness.
Gustav Belacek´s Mustafa was the star of the show: a swaggering, not-too-bright bully who becomes increasingly endearing and childlike as he falls under Isabella´s spell – the into her trap.
…and the Slovak Opera bass Gustav Belacek as Mustafa, Bey of Algiers, rose to the agility chalenge Rossini places on lowvoices as well as high.
The Toronto Star, April 2, 2003 by William Littler
BEETHOVEN: 9th CHORAL SYMPHONY , Prague Symphony FOK , Libor Pesek, conductor, 58th Prague Spring Festival , Prague
… Soloists of the “Ode to Joy” were a chapter themselves. This year was not luckier for getting together an ideal quartet, the utmost rendition came only from the Slovak Gustav Belacek…
Beethoven’ s Derniere in Closing the Prague Spring, Pravda, 04.06. 2003,J. Tlučhoř, V. Říha
MUSSORGSKY: BORIS GODUNOV, Canadian Opera Company Toronto; Richard Bradshaw, conductor; Toronto
…and bass Gustav Belacek made the part of the monk Pimen into an unexpected highlight.
www.buffalonews.com, April 15, 2002 by Mary Kunz
…Bass-baritone Gidon Saks is sensationalin the title role, as is bass Gustav Belacek as Pimen.
Toronto Opera Revier, April 10, 2002
..Gustav Belacek made a comparably sonorous-sounding Pimen…
The Toronto Star, April 7, 2002 by William Littler
ROSSINI: IL VIAGGIO A REMIS; Canadian Opera Company Toronto; Richard Bradshaw, conductor; Toronto
Gustav Belacek´s Don Profondo pontificates over national differences of characters.
The Buffalo News, January 28, 2002 by Jan Jezioro
Gustav Belacek, deja remarqué en Don Profondo dans le Voyage a Reims, apporte la contribution de sa large voix de basse caractérisée par une forte présence dramatique.
www.city.mississauga.on.ca, April 9, 2002 by Keith Garebian
Chez les hommes, Gustav Belacek, dont l´accent slave trahissait ses origines, composa pourtant le personnage de Don Profondo avec un sens profond de la ligne musicale.
www.scena.org, 24 janvier 2002, par Stéphane Villemin
…In Don Profondo´s rapid-fire aria listing everyone´s personal effects – a spoof on the catalogue aria from Mozart´s Don Giovanni ? – bas Gustav Belacek even managed various foreign accents in his Italian.
National Post, January 24, 2002 by Tamara Bernstein
BELÁČEK‘ S CONFESSION OF SONGS. ( Beethoven, Schubert, Ibert ) Matineé , Mirbach Palace Hall, Bratislava
… Gustáv Beláček, the Slovak National Opera soloist is one of few exceptions that take chamber music making serious. The programme of his September matineé is the proof of it – no mix of cheap arias, but elaborated, though not large songs presentation…
…in the first..( L.v. Beethoven)..G.B. used the given contrasts for differentiated expression of song points. He has presented his clear metallic , resonant and equal sound balance of his bassbaritone supported by wellmastered breath, fluent legato phrase as well as the ability of broad dynamic arch achievement……(in Schubert ) …he was dipping into the content even with a higher intesity, with even more precise diction as well as modelling of expresive nuances..His voice sounded relaxed, softly and with rich dynamic plasticity… for rendition demanding , impressionistically moody coloured Chansons de Don Quichotte (Ibert) he has enchanted with pure style, thought-over selection of colours and dynamic shadowing…
Music Life (Hudobný život), October 2002 by Pavel Unger
DVOŘÁK: THE SPECTRE’ S BRIDE; The Symphony Orchestra of the Czech Radio, Kuhn mixed Choir, Vladimir Valek, conductor. Rudolfinum – Dvorak Hall, Prague
(“Music weekends go on”)… there was a concert to the 75th Anniversary of the Czech Radio Symphony Orchestra on.. ..The Orchestra’ s rendition, playing under the baton of Vladimir Valek, matched the solemnity of the occasion, dramatic character of the cantata was underlined by Kuhn mixed choir’ s singing and from the soloists most of all by that of Gustav Belacek as the Narrator…
Hudební rozhledy, No 1, 2002 by Jitka Slavíková
MOZART: DON GIOVANNI; Joel Revzen , conductor, Berkshire Opera Staging USA
„The bass of Gustav Belacek/the Commendatore is staedy and attractive, and substitutes accent for power.
The Boston Globe, August 23, 2000 by Richard Dyer
Gustav Belacek makes a strong showing as Commendatore.
A Curtain Up, internet Theater Magazine of Review ,www.curtainup.com, 31.08.2000 by Elyse Sommer
…The bass Gustav Belacek was properly ominuos as the Commendatore, especially in his cemetery scene tendered from high above in the light boot at the rear of the auditorium…
The Birkshire Eagle,August 22, 2000 by Richard Hondek
DVORAK: REQUIEM, New Jersey Symphony Orchestra; Zdenek Macal, conductor. Symphony Hall of Newark
…and bass Gustav Belaček, whose rich voice has been heard with orchestras all over the world.
New York Times, 1999
…and bass Gustáv Beláček was the obvious star of the evening. Beláček, a young transplant from the Slovak opera, gave us ringing, pure announcements even with a darker, covered delivery, like a trombone.
Star-Ledger, Newark, Oktober 16, 1999 by Willa j. Conrad
BEETHOVEN: MISSA SOLEMNIS, Czech Philharmonic Orchestra, Sir Charles Mackerras, conductor, Prague
…Mackeras´s understanding for large vocal works was shown in his choice of his singers, solist comprised of D. Riedel, C. Hellekant, P. Groves and bass Gustáv Beláček (especially chosen by Sir Charles Mackerras).
Pravo Newspaper, 1999
MOZART: DON GIOVANNI, The Estate Theatre Prague
…Gustav Belacek (Leporello) captivated by his beatifull sonorous masterfully handled voice…
A discovery for me was the Slovak bass Gustav Belacek, whose notable voice is sonorously rich and technically well mastered…
Gustav Belacek, the Slovak Bass with a great future, belonged to those who shone most. Already nowadays he could be a trimming of any production. And that means also this one. His Leporello is not a little figure, but it is a character with his own human dignity. There is no stress on detail drawing of comicality and it is not a pleb lord´s servant. Having this role in his bread-and-butter repertoire, it would be worth of the further honing of his conception.
Slovo, August 1998 by Jitka Slavíková
BERLIOZ: L´ENFANCE DU CHRIST, Czech Philharmonic Orchestra, Serge Baudó, conductor
…Slovak bass Gustav Belacek whose qualities were specially picked out by Serge Baudó.
Pravda, Oktober 1998