"The true star of the show is TAKESHA MESHÉ KIZART as Mama Jette, a woman who lost her family and was brutally raped. She has the audience wrapped around her finger from her first monologue, and leads them along the heartbreaking journey through the atrocities she has experienced. There aren’t many actresses that can reach the emotional depths of a woman who watched her husband be murdered and her baby thrown into a fire, who was then brutally raped to the point where her womb had to be removed, but KIZART can and does. There isn’t a dry eye in the audience when she confronts her child soldier rapist: her nuanced expression of a complicated grief is powerful and gripping, and clearly explains how she has received such credits as performing with Deutsche Oper Berlin and Metropolitan Opera of NY. It is a gift to have her grace the Chicago theater scene."
Anthenaeum Theatre / Sister Africa: Jette / August-September 2017
"3.5 out of 4 stars... Mama Jette is a composite of women the playwright met in conflicted areas of the Congo and played by TAKESHA MESHÉ KIZART. Many personal accounts woven into one heartbreaking illustration depicted intimately to the audience. KIZART hones in upon the wide range of emotions these women reflect in the face of travesty. Convincingly embodying the laughter and happiness of talking about one’s family to the sheer terror of one’s home under siege. KIZART rips into your soul as you learn the stories of countless women who have suffered in Central Africa’s constant conflict. KIZART'S voice ebbs and flows so smoothly throughout the room that if you were to sit there with eyes closed in the darkness of the audience, you could feel the emotional strain of Mama Jette."
Anthenaeum Theatre / Sister Africa: Jette / August-September 2017
"The disconnect was made startlingly apparent when the first of the actor’s playing one of the Congolese characters arrived on stage, TAKESHA MESHÉ KIZART as Mama Jette, the sole survivor of her family after a night raid, a woman carrying the title “Mama” even after witnessing her children’s slaughter. KIZART, the true star of “Sister Africa”, breathed fresh life into a performance that already had the audience growing restless. She managed to capture the audience’s attention with the tilt of her chin and kept it for the rest of the play with her vast emotional range and stamina."
Anthenaeum Theatre / Sister Africa: Jette / August-September 2017
"Costumes were effective and consistent to their characters. Even beautiful in the case of Mama Jette... Stealing the show is actress TAKESHA MESHÉ KIZART as Mama Jette, whose stirring recollections of the murder of her family and rape by enemy soldiers leaves a lasting impression... great character development."
Anthenaeum Theatre / Sister Africa: Jette / August-September 2017
"Opera-trained lead TAKESHA MESHÉ KIZART doesn’t sing but a few notes near the play’s conclusion. Nonetheless her diva energy is apparent and super magnetic. She mesmerizes..."
Anthenaeum Theatre / Sister Africa: Jette / August-September 2017
"TAKESHA MESHÉ KIZART is a Tosca who glows and trembles with great emotional gesture, with a voice of incredible height coupled with a wonderfully full-bodied mezzo timbre."
Oper Köln / Puccini: Tosca / May-June 2012
"The only applause received was for the soprano TAKESHA MESHÉ KIZART in the title role. Her aria "Vissi d'arte" was the central commitment to art."
Oper Köln / Puccini: Tosca / May-June 2012
KÖLN: UNSERE STADT - Edgar Franzmann
"The soprano, TAKESHA MESHÉ KIZART, received the only applause of the evening."
Oper Köln / Puccini: Tosca / May-June 2012
CRIKEY CURTAIN CALL - Lloyd Bradford Syke
"Performance-wise there are no disappointments in this opera, as it sports a surprisingly level playing-field of excellent standard… But the other star of note and particular interest on this occasion, the beautiful, Chicago-born TAKESHA MESHÉ KIZART, was sobering in managing to capture the fragility of seamstress, Mimi, while delivering, vocally, an almost anachronistically open, shimmering performance almost threatening with its latent power. Here, clearly, was a refined V12 engine, a force to be reckoned with, relying on but a few of its cylinders, to fulfil the role in the most elegant, measured manner... no one can deny Kizart’s vigour, rigour, sophistication, or sheer class."
Opera Australia / Puccini: La bohème / July 2011
AUSTRALIAN STAGE - Deborah FitzGerald
"American TAKESHA MESHÉ KIZART brought a poignant vibrancy to the role of the doomed Mimi. KIZART'S rendering of Si, mi chiamano Mimi was deftly balanced and nuanced allowing her performance to build in Act 3 and 4... her magnificent voice and individual performance was outstanding."
Opera Australia / Puccini: La bohème / July 2011
"It was the singing that sustained belief in this production. As Mimi, TAKESHA MESHÉ KIZART sang with fullness of tone and warmth and an ability to hold the audience's rapt attention in the soft passages."
Opera Australia / Puccini: La bohème / July 2011
STAGE NOISE - Diana Simmonds
"It's also a feast for the ears and for those who appreciate a well-acted as well as well-sung opera... no wonder TAKESHA MESHÉ KIZART falls for him. And he for her: the American soprano thrilled Sydney audiences last year as a fairly last minute but wondrously sung and acted Tosca and she demonstrates the depth of her talent as the fragile, tragic and luminously, spiritually beautiful Mimi. All told, this new production of La bohème is a triumph for OA and a particular one for Gale Edwards. Her eye for and instinctive insistence on the fine details of a performance go much further and deeper than the principals. The result is a dramatic and emotional journey that is at times overwhelming. I ended the evening sobbing but had a truly wonderful time. Go figure."
Opera Australia / Puccini: La bohème / July 2011
"The big draw here is the striking American soprano TAKESHA MESHÉ KIZART who has been drawing massive praise for her singing of the 19th-century Italian repertoire, winning a whole raft of competitions in Europe and the US."
Opera Australia / Puccini: La bohème / April 2011
ARTSHUB AUSTRALIA - Patricia Maunder
"This new Opera Australia production of Puccini’s La boheme largely succeeds, but more importantly they have a cast capable of delivering the dramatic and musical magic necessary to draw out this gorgeous bit of melodrama’s soul. The poet Rodolfo falls for the seamstress Mimi (American TAKESHA MESHÉ KIZART). KIZART, a hit last year in Sydney as Tosca, made an impressive Melbourne debut, somehow managing to carry off the role of shy, frail little Mimi while simultaneously revealing herself as a vocal and dramatic powerhouse. There is an effortless force and radiance to her singing, but there’s also the nuance of emotional depth and surprisingly low tones. Many a leading man would be blown away by such a diva on the rise... occasionally with such (orchestral) vigour the singers were drowned out – only the mighty KIZART was able to completely defy them."
Opera Australia / Puccini: La bohème / April 2011
THE AGE - Michael Smith
"Rating: 4/5 - On opening night, the assorted bohemians were all characterised vividly, tellingly and credibly... perfect match for TAKESHA MESHÉ KIZART's marvellously idiosyncratic Mimi: here is a real Puccini soprano whose lustrous tone and magnetic stage presence reminds me of the young Mirella Freni."
Opera Australia / Puccini: La bohème / April 2011
"But the success of any performance of La Boheme depends on the calibre of its Rodolfo and Mimi. With... TAKESHA MESHÉ KIZART, Terracini has cast this production triumphantly well. KIZART used her voice judiciously before unleashing ravishing reserves of glorious full-throated sound."
Opera Australia / Puccini: La bohème / April 2011
"Exquisite soprano TAKESHA MESHÉ KIZART completes the star casting. Was ever a performer so completely attractive in person as in their head shot? KIZART'S soprano has a liquid beauty, with a finely controlled tremolo that perfectly captures Mimi’s delicate fragility. KIZART and Park capture the audience’s hearts, resulting in one of the most moving final acts in memory... Unmissable for fans, La Bohème is the perfect introduction to opera for newcomers."
Opera Australia / Puccini: La bohème / April 2011
HERALD SUN - Sybil Nolan
"Edwards's focus is firmly on Mimi, the seamstress doomed to die of tuberculosis in degradation and poverty. TAKESHA MESHÉ KIZART, a charismatic young American soprano, plays the role with restrained power and dignity. One senses her reining in a huge voice. 5 Stars."
Opera Australia / Puccini: La bohème / April 2011
LIVYDOT - Olivia Jones
It is with refreshing ease and openness that gorgeous TAKESHA MESHÉ KIZART speaks about her operatic craft and the characters she portrays. In Opera Australia's gritty new Gale Edwards production of La Bohème, the young American soprano's Mimi is a beacon of loveliness and simplicity amidst the raunchy Berlin spiegeltent where the glittering nightlife contrasts the bohemians' desperate reality. The subject of Rodolfo's enduring passion is, however, more than just another of opera's tragic heroines. Puccini places Mimi within the context of the reality, broadening the character's dimensions as she is swept up in the struggle to survive... By maintaining her distinctive presence on the stage KIZART portrays Mimi's real strength and endurance despite the part's characteristic wallflower innocence... lovely and tragic Mimi... La Bohème is unyieldingly tragic to the end..."
Opera Australia / Puccini: La bohème / April 2011
KULTUR BERLIN - Thomas Escher
" requires an extremely involved ensemble of outstanding singers with striking vocal and dramatic acting abilities. Providing much joy in the title role of Marie is TAKESHA MESHÉ KIZART. With a portrayal that stands out as a vocal 'Sun', KIZART's delivery is especially amazing: She sings with an incomparable lyricism while delivering penetrating and expressive resonance, which can at times wistfully remind one of Maria Callas. One complicating factor in any piece of melodic mush is the absence of an exposed and memorable aria, so it must rely entirely on a glowing stage presence and dramatic creative power. A success. The Deutsche Oper audience rightly thanks her with a rarely seen standing ovation."
Deutsche Oper Berlin / Respighi: Marie Victoire / February 2011
OPER AKTUELL - Kaspar Sannemann
"Marie Victoire has returned as apart of 'Revolution Week' at Deutsche Oper Berlin. In the second encounter with this piece since 2009, one is fascinated by its musical splendor... so, It is left to TAKESHA MESHÉ KIZART in the title role to extract the vocal 'coals out of the fire' - and she brilliantly did this again with flying colors. With her warm voice, she can not only captivate with a voice that envelopes, but also dramatically soars."
Deutsche Oper Berlin / Respighi: Marie Victoire / February 2011
"American soprano TAKESHA MESHÉ KIZART repeated her 2009 Marie Lanjallay and she was a most convincing artist on stage. Her beautiful lyric soprano has a remarkable middle and high register... the prison scene had her finishing the opera in great style. She turned out the best of the cast and is doubtlessly a soprano we’ll hear more from in the near future."
Deutsche Oper Berlin / Respighi: Marie Victoire / February 2011
"One could wax lyrical about the audience's favorite, TAKESHA MESHÉ KIZART, the most exciting in a long pearl of excellence. In a glittering golden gown producing a glamorously styled "Pace, pace mio Dio" and "Vissi d'arte" from Tosca - she sang with a soft, dark-toned iridescent voice that glowed in the highs with no register breaks."
Deutsche Oper am Rhein / AIDS Gala / February 2011
DER WESTEN - Michael-Georg Müller
"The audience felt that TAKESHA MESHÉ KIZART saved the gala. Despite her young age, the American sang two arias of Verdi and Puccini dressed in a golden dress like a Hollywood star of the 60s. Considered by many opera fans as the Queen of the evening, MISS KIZART of Chicago was beguiling with warm and soft tones that burned brightly with each attack. Her next appointment: The New York Metropolitan Opera."
Deutsche Oper am Rhein / AIDS Gala / February 2011
NEW YORK POST - James Jorden
"The most intriguing of the new faces was TAKESHA MESHÉ KIZART. With her exotic and voluptuous soprano, her megawatt presence automatically drew the eye."
Metropolitan Opera / Puccini: La bohème / October-November 2010
"TAKESHA MESHÉ KIZART, a big-voiced soprano with a tantalizingly unsettled quality to the tone, played the supporting role Musetta, but it is no secret that MS. KIZART has set her sights on the major parts of Puccini and Verdi. Her voice has the size and complexity to make it possible, and she was partly wasted on the coquettish Musetta, a fun but fairly one-dimensional character, and not a great showcase for MS. KIZART'S talents."
Metropolitan Opera / Puccini: La bohème / October-November 2010
OPERA NEWS - Joanne Sydney Lessner
"In her house debut, TAKESHA MESHÉ KIZART made a fiery Musetta, holding the stage with presence and attitude and displaying the full range of felinity from kitten to hellcat. Unfortunately, she seemed somewhat miscast vocally... her top notes were solid and shining..."
Metropolitan Opera / Puccini: La bohème / October-November 2010
"But it was the stylistic TAKESHA MESHÉ KIZART as Clitennestra who completely won over the audience. Lovely and elegant, she was wearing a little black dress and walked on wobbly heels. She sexily waved a holy calf in one hand and a bloody ax in the other, and sang with lush colors and a mature dramatic soprano. It felt like the title of the opera should have been "Clitennestra". Half of the people in line next to me also thought the same as I: they were only there for Cassandra and then departed. So well done... A grand evening of opera."
Deutsche Oper Berlin / Gnecchi: Cassandra / September 2010
OPERA MAGAZINE - Pierre Cadars
"TAKESHA MESHÉ KIZART, however, is worthy of all superlatives. With a breathtaking mastery... a vocal flexibility that enables her to acutely pass from a tearful murmur to a firm luminosity. And her dramatic intelligence is worthy of the great "lionesses" of the lyric theater. One is reminded of Shirley Verrett... For a lover of opera, it is always exciting to discover an artist whose international career is still at its dawning. Laureate of many competitions, including "Voci Verdiane" and "Montserrat Caballe", this young and beautiful American should reach the summit quickly. Provided, of course, that she preserves the incandescent glow that currently emanates from her every word and gesture."
Opéra National de Montpellier / Boito: Mefistofele / April-May 2010
SCENES MAGAZINE - François Jestin
"The best for last: The discovery of the splendid soprano TAKESHA MESHÉ KIZART. The timbre is magnificent... the instrument is generously deployed. Very scenically beautiful and very engaging, the actress is also thrilling."
Opéra National de Montpellier / Boito: Mefistofele / April-May 2010
L'HERAULT DU JOUR - Alain Breton
"Finally The Phenomenon: TAKESHA MESHÉ KIZART is extraordinary. The voice of this young American possesses all of the characteristics of the grand voices one speaks of from the golden age. She is destined for an immense career on major international stages."
Opéra National de Montpellier / Boito: Mefistofele / April-May 2010
ANACLASE - Gerard Corneloup
"TAKESHA MESHÉ KIZART displays a healthy and vigorous voice with beautiful radiance and solid depth."
Opéra National de Montpellier / Boito: Mefistofele / April-May 2010
ODB OPÉRA - Jérôme Pesqué
"This spectacle is dominated by the sensational Chicago soprano, TAKESHA MESHÉ KIZART. The ebony beauty also captivates with a wealth of opulent timbre in a wide range of colors, delivering with visceral acuity... she generously offers so many gifts."
Opéra National de Montpellier / Boito: Mefistofele / April-May 2010
OPMUD - J. Bonnaud
"TAKESHA MESHÉ KIZART, is a Revelation: a booming voice with accuracy of attacks and freshness, an artist at the outset of her career. One did not expect such a physical force... the intensity that made her reign in this performance allows us to predict a great future for this great singer."

Opéra National de Montpellier / Boito: Mefistofele / April-May 2010
MIDI LIBRE - Michele Fizaine
"The sculpturesque soprano TAKESHA MESHÉ KIZART succeeded in the tour de force of singing. Indeed she exceeds the necessary qualities and has an ideal techinique. A diva."
Opéra National de Montpellier / Boito: Mefistofele / April-May 2010
"4 Stars. TAKESHA MESHÉ KIZART reveals a voluptuous stage presence, a ravishing voice and a huge talent."
Oper Köln / Bartók: Bluebeard's Castle / March 2010
"TAKESHA MESHÉ KIZART'S accurate portrayal is beautiful and enticing, as well as, demanding and cold. Her rich soprano voice masters the deep tessitura of the chest register and shines in the heights with colors and urgency. Chemistry is in tune between both singers and creates an interpretation that is simultaneously affecting, erotic, and exciting... well worth seeing and hearing!"
Oper Köln / Bartók: Bluebeard's Castle / March 2010
ORPHEUS - Christof Zimmermann
"TAKESHA MESHÉ KIZART, with much Mezzo-Metal in her Soprano sings and acts so intensively, as if she is personally experiencing the process."
Oper Köln / Bartók: Bluebeard's Castle / March 2010
OPERNNETZ - Franz R. Stuke
"Music & Singing: 5 Stars. TAKESHA MESHÉ KIZART is an uncommonly insistent and confident. Her singing is infused with emotion, brilliant heights, enormous volume, and a victorious timbre."
Oper Köln / Bartók: Bluebeard's Castle / March 2010
"Outstanding are the singing and acting achievements of TAKESHA MESHÉ KIZART who glows in the low, radiating with a rich mezzo-like timbre. KIZART'S voluminously nuanced Soprano soars effortlessly through the orchestration. She achieved an intensity that could hardly be exceeded."
Oper Köln / Bartók: Bluebeard's Castle / March 2010
"TAKESHA MESHÉ KIZART defies belief. She was amazing... There was not a single note of this performance I would have changed. She's sensational. I can't do her justice. Her "Vissi d'arte" tonight is one of the most beautiful things I've ever heard in any theatre, ever. This has been an exceedingly well sung Tosca... showcasing a brand new and brilliant import, the gorgeous TAKESHA KIZART. I think we've pretty much all fallen in love with TAKESHA."
Opera Australia / Puccini: Tosca / January 2010
TIME OUT SYDNEY - Jason Catlett
"4 Stars. A well-deserved standing ovation given to American soprano TAKESHA MESHÉ KIZART... the curtain calls were uniformly rapturous. KIZART'S gorgeous stage presence and acting were certainly impressive, but the voice was an astonishing combination of shimmering colour, emotional suppleness, and sheer power."
Opera Australia / Puccini: Tosca / January 2010
"TAKESHA MESHÉ KIZART. KIZART and her performance certainly lived up to its outstanding reputation in the eyes of the first night audience, many of whom gave her a standing ovation. She inhabits the role – her stage presence is breathtaking, her control relentlessly accurate and sublime. The power and depth of her voice gives her soft tones a radiant heat and her loud a fullness textured with subtlety. KIZART'S character is beautifully realised, drawing the audience into an intensely personal identification with her love and her fear by turns."
Opera Australia / Puccini: Tosca / January 2010
OPERNWELT - Ekkehard Pluta
"Above all, the protagonist TAKESHA MESHÉ KIZART succeeds with her naturalistic interpretation of a character that is not so easily understood by a viewer of today. Also, avoiding vocal "diva-isms", she displays an alluring voice combined with warmth, lyricism, and fine phrasing. Marie Victoire... a worthwhile excavation... bringing new light to Respighi as an operatic composer..."
Deutsche Oper Berlin / Respighi: Marie Victoire / April 2009
"The young TAKESHA MESHÉ KIZART is a revelation. She dominates the stage with such a force of dramatic intensity and lyrical ability that all eyes are captured by her."
Deutsche Oper Berlin / Respighi: Marie Victoire / April 2009
OPERNNETZ - Franz R. Stuke
"Singing 5 Stars. Enchantingly delicate, wonderfully expressive, with a rich emotional transformation, and a stunning voice: TAKESHA MESHÉ KIZART dominated the evening. She sings with sweet passion and infatuated all with her soulful timbre and supple phrasing!"
Deutsche Oper Berlin / Respighi: Marie Victoire / April 2009
"Captivating the audience and inciting ovations, TAKESHA MESHÉ KIZART almost single-handedly sang and acted this important opera that revolves around the heroine for a majority of four hours. She is center stage and she shines: A Parade Performance. A singing Vivian Leigh, KIZART'S dramatic portrayal is a highly emotional haywire of suffering yet she is a woman who knows how to capture sympathies, even when silent. Her slender soprano easily soars through the air, ranging from the magically gentle to the explosively high dramatic. She displayed an impressive and gorgeous voice with uplifting passion."
Deutsche Oper Berlin / Respighi: Marie Victoire / April 2009
OPERA NEWS - A.J. Goldmann
"The young soprano TAKESHA MESHÉ KIZART sang the title role with impressive lyricism and stamina, her powerful high notes and coloratura shadings supplemented by controlled dynamism and keen dramatic conviction."
Deutsche Oper Berlin / Respighi: Marie Victoire / April 2009
"Particularly appealing, TAKESHA MESHÉ KIZART succeeds in the title role. Her soprano is pleasantly warm and round with a voluminous timbre, and her dramatically charged portrayal displayed valour, spirit, and the necessary touch of eroticism."
Deutsche Oper Berlin / Respighi: Marie Victoire / April 2009
KULTURE EXTRA - Andre Sokolowski
"TAKESHA MESHÉ KIZART is the brilliant discovery of the season! To be admired for her great looks and vocal promise - her voice, and the sensitivity and power of that voice, stir and move an entire room. All eyes, ears, and hearts were seized!"
Deutsche Oper Berlin / Respighi: Marie Victoire / April 2009
THE SPECTATOR - Michael Tanner
"Performed with stunning power... continuity was there, and huge impact. The Tosca of TAKESHA MESHÉ KIZART, great niece of a famous Blues singer, should surely be noticed as an amazing achievement of intensity in acting and singing. I have rarely spent so intense an evening in the opera house."
Opera North UK / Puccini: Tosca / October-November 2008
THE TIMES - Richard Morrison
"What convincing characterizations... the lustrous-voiced American soprano TAKESHA MESHÉ KIZART looks every inch the megastar: a stunning Naomi Campbell figure when she first appears."
Opera North UK / Puccini: Tosca / October-November 2008
"The young, Chicago-born soprano TAKESHA MESHÉ KIZART is the grand-niece of the blues legend Muddy Waters and has already attracted the notice of leading American opera houses. KIZART'S voice has a muscularity that enables her to power through Puccini's most punishing lines without even seeming to break a sweat. Her acting is also exceptional: I've never seen Tosca's abject contempt for Scarpia more witheringly portrayed."
Opera North UK / Puccini: Tosca / October-November 2008
"A NEW star is rising... Operatic divas come and go and now a new one has arrived in the form of TAKESHA MESHÉ KIZART. The American – she's related to the blues singer Muddy Waters – has both the voice to deliver glorious and touching arias and the figure to convince us of inflamed desire. Hers could be one of the next names opera companies around the world turn to when casting the big female roles. So catch her while you can... it is KIZART who steals a very impressive show."
Opera North UK / Puccini: Tosca / October-November 2008
"The best singing of the evening came from the American TAKESHA MESHÉ KIZART. A good actress, it was her singing that most impressed, and hers was the best-sung Tosca I have heard for many a decade. Her vocal power, tonal lustre, variation of calour and evenness of phrasing over her wide range, reminded me of Leontyne Price at her best. This was an outstandingly acted and sung portrayal that was justifiably appreciated by the well-attended house at curtain."
Opera North UK / Puccini: Tosca / October-November 2008
NEW YORK TIMES - Vivien Schweitzer
"In a noteworthy young cast, the ill-fated trio was admirably portrayed here, with TAKESHA MESHÉ KIZART particularly commendable as Leonora. She wielded her silky, caramel-hued soprano with impressive ease and control throughout her wide range, elegantly shaping phrases and singing the Act IV showpiece aria with chilling desperation. The energy level and dramatic commitment seemed to increase throughout the evening, balancing the tempestuous drama of Verdi's score with its breathtaking moments of gentle beauty."
Bel Canto at Caramoor / Verdi: La forza del destino / July 2008
OPERA NEWS - Judith Malafronte
"La forza del destino was quintessentially Verdian, strongly cast with fascinating vocal personalities and dramatically vivid. Soprano TAKESHA MESHÉ KIZART led the cast as Leonora, and her stunning voice — smoky in mid-range, dangerous in the lowest reaches and gloriously expansive on top — and sensational good looks blasted star quality all over the stage. "Pace, pace mio Dio" included a lovely cadenza and ended as written."
Bel Canto at Caramoor / Verdi: La forza del destino / July 2008
"The news is opulent-voiced TAKESHA MESHÉ KIZART, who, on the basis of her arrestingly musical, dramatically involved Leonora, looks destined for a place in the distinguished line of Verdi sopranos."
Bel Canto at Caramoor / Verdi: La forza del destino / July 2008
GAY CITY NEWS - Eli Jacobson
"A revelation, TAKESHA MESHÉ KIZART stands out as a singer to watch. Remember that name, memorable as it is, because this girl has the stuff that operatic stars are made of. Sweetly ethereal phrases, rich purple tone in the middle, dusky bottoms that are focused and firm, and a silvery, soaring top, this is a voice that promises much and is already delivering. It also helps that she is a slim, shapely, and attractive young woman with expressive eyes and strong dramatic instincts."
Bel Canto at Caramoor / Verdi: La forza del destino / July 2008
THE NEWS TIMES - Gilbert Mott
"With high emotional intensity and consistent musicality, as Leonora, the soprano TAKESHA MESHÉ KIZART was a strong dramatic presence with a rich low register and a powerful top, supple phrasing and a varied palette of vocal colors. Her big number, "Pace, mio Dio," was a highlight of the night."
Bel Canto at Caramoor / Verdi: La forza del destino / July 2008
ANACLASE - Lawrence Bergnach
"Today we meet the young American soprano TAKESHA MESHÉ KIZART - winner of the Concurso Internacional de Canto Montserrat Caballé and announced as the next great Verdian Voice of her generation. Upon entering the stage, she embodied Elizabeth in Tannhauser (Dich, teure Halle) and Louise (Depuis le jour). She immediately appeals and impresses. In the famous scene from Act I of La Traviata where Violetta reacts to the declaration of love for Alfredo, KIZART'S voice displays flexibility and powerful highs. Following intermission, the climate changes with Act II of the Un ballo in maschera "Ecco l'orrido campo" in which she moves and stirs all with the tranquil scene. Finally, the evening ends with Il Pirata (1827), the early work of Vincenzo Bellini. KIZART'S round velvety voice infused the last moments of Imogene unleashing a standing ovation."
Palais des Festivals Cannes & France Musique / MIDEM Opera Night / January 2008
"Farm Fresh. First-flight schools reveal high talent. ...As is almost always the case, the level proved to be consistently high, and even included some standouts... Soprano TAKESHA MESHÉ KIZART is a fourth-year student now, and in the role of Amelia from Verdi's Un ballo in maschera, her poise and natural theatrical ease were impressive. Her voice is of a kind, with a focused tonality and exquisite control... terrific singers, with KIZART the one best-prepared to step onto a larger stage."
Academy of Vocal Arts / Verdi: Un ballo in maschera / January 2008
OPERA NOW - Diana Burgwyn
"AVA churns out top-notch singers so quickly that they are sometimes hired to perform at major houses while still students. Among those who might well be ready soon for that leap is soprano TAKESHA MESHÉ KIZART. She has won several prestigious vocal prizes and could well become a fine Verdian singer. In AVA’s production of Barber’s Vanessa, KIZART took on the title role, investing that lonely, obsessed character with volcanic passion. Her voice is large and lustrous, she is a fine actress, and she has that all-important star presence. One could not help wishing for a larger hall; the school’s elegant but tiny theatre simply does not do justice to big voices like KIZART'S."
Academy of Vocal Arts / Barber: Vanessa / February 2007
COURIER POST - Robert Baxter
"Symphony…theater…a perfect match. TAKESHA MESHÉ KIZART'S intensely focused soprano soared over the orchestra in the Liebestod. Sounding big and vibrant, her voice caught the ecstatic fervor of Wagner's opera. Four stars out of four!"
Symphony in C / Wagner: Tristan und Isolde - Liebestod / November 2006
OPERACLICK - Patrizia Monteverdi
"The American, TAKESHA MESHÉ KIZART, inspired admiration as soon as she appeared onstage. Beautiful, jewelry and dress of a 1950s diva, recalling the look of a young Shirley Verret. Singing the complex aria "Tu che le vanità" which also requires great interpretive skills, she immediately showed them even during the long musical prelude before the first attack. KIZART was powerful, incisive and exciting. Long applause emphasized her performance in which she was awarded the first prize. Great success and critical acclaim."
Teatro Giuseppe Verdi Busseto / Concorso Internazionale Voci Verdiane / October 2006
KLASSIK.COM - Uwe Schneider
"An "ahhh" echoed through the audience as the beautiful American, TAKESHA MESHÉ KIZART, entered the stage with the look of an Opera Diva. Singing Verdi and Puccini during the semifinal, she performed "Tu che le vanità" for the final. Her voice has all of the qualities of a young dramatic soprano. Characteristic tangy lower register, a highly expressive and captivating presence, able to sustain high pianissimi, and a talent to sense and express the major arc of the aria. KIZART is also technically excellent in her dynamic differentiations. She was offered a contract even before the final."
Semperoper Dresden / Competizione dell’Opera / June 2006



is worthy of all superlatives. With a breathtaking mastery and unflinching portrayals... a vocal flexibility that enables her to acutely pass from a tearful murmur to a firm luminosity. And her dramatic intelligence is worthy of the great "lionesses" of the lyric theater. An artist whose international career is still at its dawning, this young and beautiful American should reach the summit quickly. Provided, of course, that she preserves the incandescent glow that currently emanates from her every word and gesture. 
-Opera Magazine
<June 2021>

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Respighi: Marie Victoire
Verdi: La forza del destino
Gnecchi: Cassandra
Puccini: La bohème
Puccini: Tosca
Puccini: Tosca
Wagner: Tristan und Isolde: Prelude and Liebestod
Massenet: Le Cid
Guion: I talked to God last night
Verdi: Don Carlo
Bellini: Il pirata
Verdi: La traviata
Puccini: La bohème

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