Reviews
In an inspired debut on Saturday, Latvian mezzo-soprano, Zanda Svede brought heat and allure back to the Benedum Center, singeing soldiers, toreadors and listeners alike with a full-bodied, sensuous voice and arresting presence. Svede's stage presence captivated, from her first barefooted step onto the stage, breathing life into complexities of a woman sure of herself, and of her hedonism.
Her Habbanera, perhaps the opera's most famous aria, elevated the production from strong to excellent. Post-Gazette. 27/03/2022
In the title role, Zanda Švēde made her Pittsburgh Opera debut, and one that won’t be forgotten anytime soon. Her velvety mezzo-soprano voice gained in color and volume as the opera progressed, and in action her facial expressions proved to be as suggestive as the swish of her skirts. Her “Card Scene” was dramatically intense, and she tossed off the part’s more well-known arias with great ease and éclat. The last Carmen I saw came close to being the best one I’d ever seen or heard, but after Ms. Švēde’s performance, I’m not exactly sure if I remember the singer’s name. Onstage Pittsburgh 27/03/2022
La mezzo lettone Zanda Švēde est tout cela, entraînant par-delà la séduction de son timbre, une distribution sûre de ses effets dans un contexte aussi inspiré. ResMusica 05/03/2019
The program was short on the usual hit parade (not a single Puccini excerpt), and uncommonly generous with rarities, such as the finale of Jules Massenet’s Cléopâtre, the exceptional mezzo Zanda Švēde embracing the fatal kiss of the viper with a superb vocal and dramatic performance. Švēde also sang Marfa’s aria from Modest Mussorgsky’s Khovanshchina, and again was a tower of vocal and dramatic strength. San Francisco Classical Voice, 12/05/2016
And no recap of the program would be complete without hailing the dark glamour of the final duet of death from Massenet’s “Cléopâtre” as expertly delivered by mezzo-soprano Zanda Svede and bass-baritone Matthew Stump. San Francisco Chronicle, 12/03/2016
Mezzo-soprano Zanda Svede’s sensitive, vocally resplendent performance as the maid Suzuki was only the latest step in this Adler Fellow’s methodical, thrilling march toward greatness. San Francisco Chronicle, 11/07/2016
With movie-star looks... and a luscious, chocolatey mezzo-soprano, Zanda sort of threw you off balance every time she opened her mouth. It is probably not idle to predict she could become one of the Carmens over the next few years: She has the voice, the musical verve and a winning, controlled approach to movement that augur great things. - The Independent, 04/30/2016
Zanda Švēde as Carmen did not disappoint. That voice—that bottomless voice! It’s a heavy mezzo with luxurious layers and some surprising color up top. It somehow resonates alternately in the depths of her chest, then her head—and still manages to project. Her first two arias also proved a wide range, and that she was embedding sensuality to spare into her Carmen. KCMetropolis.org, 04/25/2016
Zanda Švēde, in her Lyric Opera debut, played the gypsy with convincing flair. Her luscious voice was fruity, full and varied. Each aria was given a different color, from the flirtatious “Habanera” to the fateful “Card Aria.” - The Kansas City Star, 04/24/2016
The Latvian mezzo - whom Katz had sing one of her country's simple folksongs unaccompanied to show the difference between traditional songs and those undergoing art song treatment - has impeccable diction in any language, she tells the story, and conveys the emotions. Schwabacher Debut Recital - Janos Gerben, 03/15/2015
...the evening's most unforgettable showing was mezzo-soprano Zanda Svede's resplendent account of "O ma lyre immortelle" from Gounod's "Sapho" - full throated, luxuriantly phrased and capped by a glorious and impeccably placed final high note. Merola Grand Finale - Joshua Kosman, San Francisco Chronicle, 08/19/2013
Zanda Svede possesses the looks, the glamour and the voice. There's not much more to say. She's ready... Merola Grand Finale - John Marcher, 08/20/2013
...a promising Latvian mezzo-soprano with plenty of vocal agility and an extraordinary chest register that just gets stronger the lower it goes. Schwabacher Summer Concert - Joshua Kosman, San Francisco Chronicle, 07/20/2013
Zanda Svede was the sparkling, deep-voiced Isabella in L'Italiana in Algeri, and the Latvian mezzo was restrained both in projecting her big voice and tastefully comic acting ... Schwabacher Summer Concert – Janos Gerben, 07/23/2013
Interviews and Articles
Carmen Unbound: Lyric Opera ends season with Bizet's subversive tale of love and death. The Independent, 04/21/2016
Lyric Opera's 'Carmen' is a classic tale of passion and chaos. The Kansas City Star, 04/17/2016
Second year Adler Fellow Zanda Švēde shares her influences and memories... Adler profile on San Francisco Opera's blog 05/05/2016
Latvian mezzo-soprano and new Adler Fellow Zanda Švēde has had a fascinating journey from hotelier to aspiring opera singer... Adler profile on San Francisco Opera's blog, 02/14/2014
Among the young artists of the 2013 Merola Opera Program making their San Francisco debut at this week's Schwabacher Summer Concerts is mezzo-soprano Zanda Švede from Latvia. Janosh Gerben, San Francisco Classical Voice, 07/18/2013
Jāzepa Vītola Latvija Mūzikas akadēmijas Vokālās nodaļas ceturtā kursa studente Zanda Švēde kļuvusi par prestižās Merola Operas programmas (ASV) dalībnieci. www.delfi.lv, 01/22/2013