Teodata in Handel’s Flavio
Barbican cond. Christopher Hogwood / Academy of Ancient Music
"... it was... Renata Pokupic’s Teodata who provided the most distinguished singing…”
Andrew Clark, Financial Times, April 2008
Dvorak Stabat Mater
Choeur Accentus / cond. Laurence Equilbey
"We are also lucky that the first recording of this unheard version is served by magnificent performers who are well acquainted with this repertoire and form - the compassionate piano of Brigitte Engerer, the ardent and contrasted voices of the Accentus choir and the soloists (particularly mezzo-soprano Renata Pokupic). To her equally successful Brahms German Requiem and Liszt Via Crucis, Laurence Equilbey and partners add with this another exemplary trophy. This sacred trilogy, this holy trinity has no equals or rivals in today's discography."
Gilles Macassar, Telerama, April 2008
Cherubino Mozart’s Le Nozze di Figaro
Theatre des Champs-Elysees / cond. Jérémie Rohrer
“Renata Pokupic displays a charm worthy of Frederica von Stade."
Le Figaro, September 2007
Siébel Gounod’s Faust
Opera Ireland
“The best singing on stage comes from the Croatian mezzo Renata Pokupic in the trousers role of Siébel. Her tone is straight and true, her boyish antics perfectly apt, and whenever she sings, she simply commands attention.”
The Irish Times, April 2006
Messagera Monteverdi’s Orfeo
Lille Opera / Emmanuelle Haïm
“Renata Pokupic is superb as the messenger.”
Financial Times, November 2005
“Renata Pokupic makes herself easily noticed, a Messagera with a soft and gripping tone, with clear and assured diction; conscious of her account’s crucial role, she knows how to bend the action towards tragedy with sincerity and emotion.”
Les Echos, November 2005
“One cannot remain indifferent to the powerful interventions of Renata Pokupic’s Messagera.”
Le Figaro, November 2006
Dido Purcell’s Dido and Aeneas
Monteverdi Choir and English Baroque Soloists/ John Eliot Gardiner
“ … Renata Pokupic, whose style is impeccable…”
Le Figaro, November 2004
Bach’s Mass in B minor
Monteverdi Choir and English Baroque Soloists/ John Eliot Gardiner (BBC Proms)
“ … and a brief hearing of the silvery edge to Renata Pokupic mezzo was impressive.”
Musical Opinion, August 2004
“… mezzo Renata Pokupic… was also excellent.”
Stephen Pettitt, Evening Standard, August 2004
“The chirruping piping of soprano Katharine Fuge nicely contrasted with Croatian mezzo Renata Pokupic”
Hilary Finch, The Times, August 2004
Dejanira Handel’s Hercules
London Handel Festival Choir and Orchestra/ Laurence Cummings
“… thank God for Renata Pokupic, a warm-voiced Croatian mezzo-soprano. From her first entry, she wrenched the evening to a level of emotional engagement… from hysterical joy to wrecked despair, this was some performance!”
The Times, May 2004
“… she can cope with the most demanding of Handel’s florid vocal lines and ornaments with remarkable control of articulation and breath… an extremely appealing stage presence combined with the sheer quality of her voice, gives her an almost unbelievable ability to express the widely varying moods. She has a very special talent.”
Early Music Review, May 2004
Anna Berlioz’s Les Troyens
Orchestre Révolutionnaire et Romantique / John Eliot Gardiner
“Renata Pokupic was a sumptuous Anna.”
International Herald Tribune, October 2003
“Renata Pokupic, a touching Anna…”
ConcertoNet, October 2003
“Renata Pokupic composes a quasi-mozartian Anna, giving to the great duo with her sister Dido a very appropriate dreamy charm.”
ResMusica, November 2003
Handel: Ariodante’s arias
Aestas Musica International Ensemble / Laurence Cummings
“Renata Pokupic displayed attributes that merit her a place at the very pinnacle of her profession. She projects a vivid and refreshing personality from the platform, but in doing so immerses herself totally in the spirit and style of the music. Her technique is completely assured and meticulously controlled. Ms Pokupic is a very special singer.”
Stephen Pettitt, Evening Standard
“Arias from Ariodante were sungwith a gleaming bronzed vocal quality, admirable flexibility, complete attachment to text and character and a poise and sophistication …and led me to believe that here is an outstanding talent.”
Linda Hirst, Head of Vocal Faculty, Trinity College of Music