"Verdi´s characters are like a garden full of flowers."
"Once again, most of these works have receded into the vaults, awaiting only the arrival of a divinity with the right key. Adriana Kohútková -- a star in Slovakia and the Czech Republic, but virtually unknown elsewhere – may be the one. (…) As with Caballé’s, the voice is essentially hefty, but tightly controlled to produce ravishing pianissimos. Its tone is plumy and gorgeous, but it is her astounding technique that propels Kohútková to diva status: not merely a showoff, she makes the coloratura mean something, her word-coloring is untouchable, and she possesses perhaps the most perfectly executed mid-phrase trill I have ever heard (something that always eluded Caballé, and that for many singers requires a quick preparatory gulp). Kohútková spins the increasingly intricate vocal line like threads of gold. Then there are the blazing high notes. Aping one Caballé stint at the Met, Kohútková sustained a climactic forte d-flat over a full chorus until the curtain was more than halfway down, and did so again with the opera’s final high D. And her unforced chest voice in dramatic declamatory passages seemed to go on forever, to the portals of doom."
Larry Lash, December 2007, MusicalAmerica.com
"...And yesterday in particular [transl. note 17.2.2007], we were lucky enough to happen to be present at the revelation of a new singer. Adriana Kohútková, an unknown talent to me at least, took on “Marie’s” role and made it into something very special. With a little help from her dear colleagues, she was able to win the heart of the Hamburg public, and to create a grand evening in terms of singing and acting without any difficulty. The tenor Antonio Siragusa himself (...) had to intensify his own performance to reach her level."
"...the singing star of the performance is the Slovak coloratura soprano Adriana Kohútková as Armgard, who displays great dramatic reserves and charming high pitch..."
"...In the role of Armagard, which requires a lyrically agile soprano, Adriana Kohútková was very effective. In a strong, full, blooming voice she expressed the soft and complex elan typical for Offenbach..."
"...But the evening belonged without a doubt to the fascinating Adriana Kohútková from Bratislava, who created on the stage an entrancing Armgard. Her beautiful, exceptionally formed and apparently borderless soprano captivated the ear and her feminine/erotic radiance aroused the senses – what a cultivated singer and what an interesting voice (reminiscent of the young Cotrubas)! One didn’t want to take his eyes off her. If I owned an opera, I’d engage her immediately for the role of Lucia, Rosalinda, Hana Glawari, indeed for all the young coloratura soprano parts!"
Geerd Heinsen, ORPHEUS OPER INTERNATIONAL 2/2005
"...At the first performance we had the opportunity to hear the soft and youthful voice of the Slovak soprano Adriana Kohútková, dominant and sovereign in the first scene. After the entrance of Giorgio Germont (Vladimír Chmelo) Adriana Kohútková sat at the piano in the scenes of suffering, with which she worked until the end. The most successful numbers of this performance were precisely the appearance of Violetta and Germont, the mournful aria, 'Addio del passato' and without a doubt also the final scene." (performance from 15.10.2005)
"...Adriana Kohútková as Violetta rose her performance as the evening went on, even if this time her golden, glittering voice didn’t need the coloratura in the first scene. Then in the conflict with father Germont, and in the final act, taking upon herself all the demands and expectations of the company, Ms. Kohútková created an unforgettably distinctive character." (performance from 16.10.2005)
Reinhard Kriechbaum, DrehPunktKultur
"...The audience must have especially appreciated the thought-out, dynamically sensitive mastery of the role of Rusalka by Adriana Kohútková, without a doubt one of today’s most perfect interpreters of this role."
SLOVENSKÉ DOTYKY (6/2005)
"...Adriana Kohútková is a beautiful Rusalka with a large, creamy, supple voice decorated with sparkling high tones; she presented the aria 'Song to the moon' with a brilliance corresponding the light of the moon flowing towards her through the blue veil of midnight mist."
Larry L.Lash, OPERA NEWS ONLINE
"The most balanced element in the whole performance was Adriana Kohútková as Hana Glawari. That Kohútková sings exceptionally we already knew, but this time she also showed her talent for movement. She is temperamental but at the same time natural and individual – a true prima donna."
Vojtek Katalin, Slowakisch - ungarische Zeitung
"In the second premier of the performance, Adriana Kohútková was a last-minute replacement as Mařenka (...). She brought out increased concentration among the other performers, and caused the first reprise, with its lessened tension, to become a truly interesting night at the opera. The singer (...) launched into the far from simple direction of Matthias Hartmann with fantasy and cleverness. Her interplay with the outstanding performer of Jeník (Piotr Beczala) and with the young, gifted Andreas Winkler succeeded as if it had been rehearsed many months in advance."
John H. Mueller, DER NEUE MERKER (10/2003)
"In the following opera music – two scenes from the opera "Prodaná nevěsta" – replacing Gabriela Beňačkova, the Slovak soprano Adriana Kohútková showed herself wonderfully, her beautiful full voice perfectly mastering the Smetana ("That loving dream"), and also in the following piece from Dvořák’s Te Deum."
Vladimír Říha, HUDEBNÍ ROZHLEDY (11-12/2004)
"...Adriana Kohútková conquers through the dainty legato phrasing and warm timbre in lyrical cantilena. This does not however mean that she had problems with the range of the part, even the outer high tones rang out without fault."
HUDOBNÝ ŽIVOT (4/2004)
"...Adriana Kohútková in her singing and acting is softer, more feminine, and impresses not only by her virtuoso coloratura, she intoxicates by the sweetness and heat of bel canto phrases..."
DOMINO FÓRUM (14/2004)
"Adriana Kohútková in this character created and sang with such high musical and artistic quality that a true heroine was made of Mozart’s Konstanza. Her musical expression was refined, and the overall best appearance and the absolute pinnacle of the evening was Kohútková’s G minor aria performance. Her movement on the stage was flawless, the best of the performances of all the artistes, her acting expressiveness was understandable, improving by her personality the very direction of the opera."