The National Theatre Prague

Es wird überaus anrührend gesungen in Prag. Wenn Dana Burešová als Elsa nur ihre ersten Worte singt, „Mein armer Bruder!“, so hell, direkt und offen, durch und durch kindlich, ohne Verschattungen, dann schließt man sie sofort ins Herz.
Frankfurter Allgemeine Zeitung, 10th June 2017, Jan Brachmann

... Her diamond-edged tone was tempered in her caressingly floated "Euch Lüften".
Bachtrack, 16th June 2017, Jan Brachmann

Dana Burešová starred as Elsa with a sovereign, deeply felt and experienced vocal expression and essential appearance and acting. Her Elsa is gentle and tragically majestic. After Elisabeth in Tannhäuser, which won the Thalia Prize 2008, it's another beautiful Wagner´s character in her repertoire.
Pravo, 9th June 2017, Radmila Hrdinova

Dana Burešová sang his first Elsa confidently and she clearly proved that this tough role (after the role of Elisabeth in Tannhäuser) corresponds to her voice disposition as well as her talent. From the shading of dramatic and lyrical passages it was obvious that she has thought carefully about the role...
Harmonie, 9th June 2017, Denisa Valterova


Odyssey Opera Boston, concert performance

Odyssey Opera presented the American premiere of the work in its uncut version, and it was a historic night for opera in Boston... Dana Buresova as Marina exuded pride and scorn from the moment she entered.
The Boston Globe, 19th September 2016, Jeffrey Gantz


Marina, his proud, ambitious Polish wife, only stays married to the pretender in order to gain power herself. In the role, soprano Dana Buresova sang with a bright sound to capture effectively the pride and conceit in her Act 2 aria. When the woman is driven to jealousy after Dimitrij falls for Xenie, Buresova’s singing blossomed with intensity.
Boston Classical Review, 17th September 2016, Aaron Keebaugh


Also excellent was Dana Buresova’s Marina. The character is a rather heartless one and Buresova’s first appearance was suitably cold and steely. But, as the opera proceeded, she and Marina warmed… Marina’s long duet with Dimitrij in Act 3 was powerfully sung and, even if I didn’t buy the character’s declarations of remorse after arranging Xenie’s murder in Act 4 (here a true staging might have better helped pull it off), it was, by this time, impossible to take your eyes (and ears) off of Buresova when she had something to sing, so powerfully did her voice slice through the score’s thick textures and her stage presence demand your attention.
The Arts Fuse, 19th September 2016, Jonathan Blumhofer


Dana Buresova conjured power in the dramatic role of Marina, Dimitrij’s Polish wife, who knows the secret of his birth but who expects to attain power through him. Although working in a concert performance with no explicit blocking, she made highly effective use of a rust colored cape attached at the wrists, with which even the small gestures expressed her self-confidence and drive for dominance. The clarity and power of her soprano voice projected her wily, self-interested character brilliantly. The third act scene in which - jealous at Dimitrij’s evident attraction to Xenia - she reveals the secret that he is an imposter and threatens to reveal it if he leaves her, constitutes one of the dramatic highlights of the score.
The Boston Musical Intelliegencer, 18th September 2016, Steven Ledbetter


London, Barbican Hall, concert performance

In this concert performance, all the score’s irresistible charms were miraculously realised by the great Czech conductor Jiri Belohlavek who magically transforms the cerebral BBC Symphony Orchestra into the silky sweet Czech Philharmonic, and galvanises a terrific cast of singers, mostly from Prague’s National Opera and totally at ease with the idiom, Richard Samek was Dalibor, Dana Buresova Milada: both were enchanting.
The Telegraph, 3th May 2015, Rupert Christiansen

Dana Buresova sang Milada. She’s another much-loved regular visitor. She sang the female lead in The Jacobin, The Bartered Bride and most of Bělohlávek’s other London performances of Czech opera. Milada is a forceful lady, and Burešova’s magnificent singing does her justice. The part calls for great vocal control, for the lines ring out with the intensity of a trumpet call, though Milada’s femininity is underlined by lustrous harp...
Opera Today, 4th May 2015, Anne Ozorio

Milada, performed by Dana Buresova, shines on the stage with her superstar high notes, which she uses in the extatic love duet with Dalibor in Act III.
La letre du musiciens, 4th May 2015, Clément Rochefort

Dana Buresova as Milada showed an equally impressive performance. She did the role of dramatic twists and turns, she was fascinating especially in the first act, where she turned her hatred towards his brother's killer into boundless love for the man who dazzled her with his appearance as well as with his tragic fate. In particular, the vocally demanding passages with the brilliance of high tones and plaintive lyricism, in the admirable range of the whole part, demonstrated the artistic maturity of the singer.
Harmonie, 5/2015, Rudolf Roucek


The National Theatre Prague

Dana Buresova est une soprano dramatique dans la continuité d’une Benackova, avec une belle ampleur jusqu’à son grand air final et une belle ligne de chant..., 1th January 2016, Vincent Guillemin

Libuse and Premysl are very good – Dana Buresova, for whom we don't have to worry about the high notes, because she is able to reach even higher ones, they are literally bright, and her Libuse is a charismatic and dignified noblewoman – as the chorus sings: "Lovable, lovable..."
Opera PLUS, 29th October 2014, Olga Janackova


The National Theatre Prague

Dana Buresova introduced herself as Helga in the first premiere of Fibich's The Fall of Arkun. This singer matures as wine both vocally, and theatrically, in the role of Helga she has a lot of determination of a woman in love, and also the awareness of her own misdemeanour... The voice of Dana Buresova is full, resonant, coloured, and the technique is developed – it is great that she is going to start playing the role of Libuse in her top form.

Opera Plus, 13th October 2014, Olga Janackova



a concert performance recording, London, conducted by Jiři Belohlavek

[Dana Buresova] comes to the role of Marenka as a Smetana specialist whose every phrase has a ring of truth.
Gramophone Magazine, December 2012

She's a charming, fully equippedlyric exponent of a role that can benefit in places (particularly in the climax of Act III's sextet and the subsequent aria)…
Opera News, January 2013, David Shengold


The National Moravian-Silesian Theatre Ostrava

In the title role Dana Burešová introduces her metallic flexible soprano voice in a perfect vocal cast.
Harmonie, 20th July 2012, Milan Pospisil


The National Theatre Prague

„The best singer award“ goes primarily to Dana Buresova as Elisabeth, who, indeed, got Thalia Award for this role in 2008 – in the Brno Opera productions. Staging directors "buried" her for the first and the third act into black stiff dress and a little sad moving around the stage with her hands folded at the waist, but due to her singing performance Elizabeth wasn´t a coolly abstract chaste fossil. This is a woman, who, under the outside surface of burgherly curt virtues, longs for the fulfillment of her love feelings. The supressed desire struggles through her singing, and adds life and plasticity to this character.
Opera Plus, 14th January 2014, Helena Havlikova

Dana Buresova proved again, that she was rightly awarded the Thalia prize for Elisabeth in Tannhäuser, by the Brno productions in 2008. Her Elisabeth has purity and fervency in her voice and personality, and together with Daniel frank they make an excellent couple., 13th January 2014, Radmila Hrdinova

Dana Buresova also showed the sense of dramatic expression as her strong point in a wonderfully and easily sung role of Elisabeth.
Divadelni noviny, 12th January 2014, Josef Herman



The National Theatre Prague

...the star of the whole performance had become Dana Buresova as Anezka. Her full dense voice and deep interpretation of the change of a mourning widow into a woman in love brought finally in The Two Widows standards we should expect in our National Theatre. Excited ovations accompanying her performance only proved how she impressed the audience.
Opera Plus, 11th June 2013, Helena Havlikova

Anezka of Dana Buresova fulfils her part not only with hiding tenderness and favour, but she also readably reacts to Karolina´s behaviour.
Opera Plus, 4th June 2013, Olga Janackova

More succesful were „widows“ of the second premiere... Anezka of Dana Buresova does not lack gentleness, warmth and roundness of Smetana´s cantilene.
Právo, 5th June 2013, Radmila Hrdinova


Lyric Opera Baltimore

Buresova was a believable gamin, youthfully vulnerable and tempestuous at the same time. Her sometimes steely sound warmed to gleaming in the affecting "Ten lasky sen."
Washington Post, 30. 3. 2007, Sarah Hoover

Among the production´s international cast, Dana Buresova´s Marenka appropriately enough turned out to be the true star of Smetana´s charming little village. The Czech soprano laughed, pouted, and schemed her way triumphantly through the evening, and fully deserved her standing ovation at the end of it. The singer´s voice was strong, pure, and even in all registers; it carried aesily, and she even thrilled the audience with a couple of impressive – albeit not entirely necessary in Smetana´s score – high Cs.
Opera Today, 7th April 2007, Olga Haldey


Dana Buresova was equally well suited to the sensitive comic role. She ably conveyed the ups and downs as she struggled to understand Jenik´s conniving scheme… She offered a clear brilliant tone and exquisite sensitivity to the music she sang.
Der neue Merker, May 2007, Nancy Lang


Dana Buresova produced a big, intence, slightly mettalic, remarkably communicative tone that heated up Smetana´s melodic lines to compelling effect.
Baltimor Sun, 26th March 2007, Tim Smith


The National Theatre Prague

The starring couple of the second premiere was more certain in voice and - first of all - more involved emotionally. Dana Buresova is Marenka with a beautiful voice and lively performance.
Pravo, 30th September 2008, Radmila Hrdinova