Tatiana, Grange Park Production Of Tchaikovsky’s Evgene Onegin
‘…Domnich easily dominated the first act, her showpiece letter writing aria delivered with a voluptuous tone whilst cavorting onstage in throes of passion. Her subsequent transformation into the poised young women of act three is effective, and she manages to chastise Onegin whilst showing the audience her inner turmoil..’ 2012, Cadogan hall, London theatre reviews
‘..Domnich inhibited Tatiana completely. She has utter control of phrasing and unforced heft where it matters. Her final moments of intensity were magnificent utterances of desperation. The big houses should pay attention.’ Rosy Johnson, Opera now, October 2012
‘… In the famous letter scene in which Tatyana writes her declaration of undying love to the arrogant Onegin(James Oran-Campbell) the subtlety of Ilona Domnich’s acting really came to fore. Rather than throwing herself around the stage, she gave an extremely real and completely engrossing rendenring, with her incredibly free and expressive voice bringing the scene and its emotional power to life.’ Grange park opera 2012 Bachreviews
..as Tatiana, the young Russian/Israeli soprano Ilona Domnich triumphed in the role, by turns hesitant, impulsive, rapturous and, finally, icy and imperious. The voice is easy throughout the register, she managed to spin a fabulously gossamer pianissimo line in the descending scales of the letter scene, and produced warm and full-bodied tone whenever called upon to do so… Domnich revealed a steady intensity of character throughout the evening, never lost focus, and produced some technical singing that was a joy to experience close up and personal.
Elle In Poulenc’s La Voix Humaine, With BBC Concert Orchestra / Hampstead & Highgate Chamber Music Festival
OPERA NOW choice
la Voix humaine
“A revelation…conjuring heavily oppressive atmosphere from little more than darkness, a few bedside props and some taped passing trains, with the audience gathered in close on three sides and the piano lost in the shadows.
La voix was turned into a squalid, bedsit drama, unadulterated by heroic grandeur, with the audience on its knees, not just emotionally but morally. It felt like we were peering at this little drama through a keyhole, voyeuristically and shabbily.
I’ve seen a lot of La Voix Humaines but this was the first to leave me on the edge of tears. It was superb. Ilona Domnich, the young uk-based Russian soprano in the solo role, gave, the most compelling performance of the piece I’ve ever witnessed: not big in gesture- she had no gallery to play to- but minutely observed, utterly credible, and sang with disarming, jewel-like beauty.
That her English had a Slavic sponginess in the consonants only added to the sense of vulnerability and pathos. And her pebble-in-the throat vibrato did the same, its edginess of the endearing rather than excoriating kind. This was a wonderful affecting little show, and one that ought to launch Ilona Domnich on a serious career.
Michael White, Opera Now 2007
‘.. Ilona Domnich was unforgettable in this lengthy, demanding and harrowing role, responding skillfully to every nuance in the text (her voice finding countless varieties of light and shade), and adroitly and sensitively to Sebastian Harcombe’s sympathetic direction. I felt I was watching something natural and real a human being in distress, desperate, trying to cope with the ugliness of a life that held out no hope for her.
I liked the bareness of juxtaposing a single musical instrument with a single human voice.. Even the silences spoke. The style ranged from gruffness to tenderness, from brusqueness to delicacy.
Classical source 2007
Venus, Thomas Arne’s The Judgement Of Paris, 2010
‘…I don’t think I’m giving anything away by suggesting that Ilona Domnich’s Venus – blond, sensuous, and with an enigmatic smile and an amazing voice – looked the most likely contender for the prize apple.’ Thomas Arne, the Judgement of Paris, Opera reviews 2010