As Carmen

"Mexican mezzo-soprano Carla Dirlikov, a well-practiced, sexy Carmen, DOMINATED the show. She moved suggestively, singing the habanera from atop the audience, deep-kissing a stunned Micaela. Dirlikov’s dark mezzo displayed all the nuances that make Carmen an independent woman in love. Following a Gitano wedding ceremony that Corradi staged as something between Catholic ritual and a tarot reading, Dirlikov’s Carmen appeared somewhat transfigured, yet with no fear of death. 

The scene of the murder with Carmen slowly falling along the pole, arms outstretched as on a cross, was stunning."

-Jean-François Le Jeune, Opera News 2015

Carla Dirlikov was a seductive Carmen with the right looks and a dark-hued voice

-Erna Metdepeneninghen, Opera Magazine


" A BRILLIANT INTERPRETATION: To play Bizet's gypsy you have to be dazzling, and Carla ideally embodies the cigarrera, or cigarette factory worker, who so cynically toys with men's emotions.  A mezzo-soprano with exciting vocal colors wedded to a nuanced dynamic and rhythmic range, she releases an arsenal of expressive tone, perfectly depicting Carmen's unbounded freedom ease in ensnaring lovers, all the while revealing her as mistress of a fiery and vibrant sensuality, a woman accustomed to exploiting capriciousness to get her way. In Carmen's arias, Carla demonstrates a profound internalization of the character, and her efforts provide a delight for the audience."

”Mezzo-soprano Carla Dirlikov is a commanding Carmen ...From the moment Carla Dirlikov makes her entrance as Carmen, she dominates the stage. And why shouldn’t she? After all, she possesses a powerful voice, has Latin blood (her mother is Mexican) and is not shy about showing contempt for and being impudent to Don Jose ...

Carla Dirlikov is a proud and seductive Carmen, moves onstage with authentic gypsy allure, and right from the “Habanera" onward becomes the lynchpin of the entire opera ... 

"Carla Dirlikov demonstrates astonishing range and power, superb phrasing, and a vocal technique so remarkably secure that it becomes a force of nature...Ms. Dirlikov is extremely beautiful with an elegant, perfectly oval face and copious, healthy, flowing, long shiny tresses. These physical traits, distinguishing a woman aglow with youth and accustomed to success"

-Jorge H. Álvarez Rendón, Diario de Yucatan


"Dirlikov’s best moments as Carmen come when she is independent of the chorus, moments in which autonomy lets the mezzo nurture her interpretation along paths other than those mapped out by the stage director, where Carla, the artist, is what she feels, allowing her emotional intimacy, her female arsenal, to externalize, so that she becomes what a woman in love with love should be: impetuous, impatient, exultant, unpredictable, undeterred by risks, defying her own destiny, emblematic of uncontained passion hurtling toward death, of capriciousness instigating amorous deception, of love changing human hosts as it parasitizes one man after another...In her duets, Carla Dirlikov, radiating youth and beauty, expresses these amorous feelings in a very personal way, thus affirming her status as an independent woman, with every action biorhythmically informed, seductive and demanding, as Carmen must be: FREEDOM, THE BIRD (LOVE) THAT NOBODY IS ABLE TO SNARE."

 -Victor Salas, Por Esto


"Vocally a beautiful, dark mezzo that showed off especially in the Habanera and in the song about the ‘remparts de Séville’...The evolution of the role with Carla Dirlikov was interesting. As factory girl she was tough and the third act, she stood as a tough, almost business front woman of the smugglers on stage and that was a lot closer to the woman Dirlikov might be herself. No more waving hair, but a Ans Markus-look and a presence with which you don’t make fun off.  At the end, in what I would call a full-bull-fight-arena-dress, she seemed to be the best. "

-Francois van den Anker,


"The skillfully acting and well suited voice of the lead mezzo-soprano made the part of the gypsy Carmen most capturing. Carla Dirlikov gave the role a distinctive persona with her unique timbre."

"The American Carla Dirlikov sang a provocative Carmen with a sexy dark timbre, a sensational stature and beautiful French.



As Dalila

Her beautiful voice is well suited to the different demands of this role: it can be deceptively gentle in her quest to ensnare Samson in her trap, or cruelly dramatic when scolding him. The opera has two important moments...the beautiful aria from Act II and intense bacchanal scene of Act III. The responsibility for the first of these moments fell to Dirlikov, and she sang it with such emotional sentiment that by the end she held the audience in the palm of her hand."

- Roldán Peniche Barrera, Por Esto


Ours and Samson's first encounter with the beautiful and devious Dalila begins with her aria "Printemps qui commence" a highlight of the first act as sung in the sweet tones of Carla.  More intimate still was the second act, filled by Saint-Saens with intense duets and delicately precise lines of music.  In the performance of one of the most beautiful arias ever written for mezzo-soprano, the unforgettable "My heart opens to your voice," Carla showed her richly colored voice to great effect"

- Jorge H. Alvarez Rendon, Diario de Yucatan

" First and foremost,  we must highlight the performance of mezzo-soprano Carla Dirlikov, who's professional career in classical singing is on an outstanding path.  She delighted us with her powerful voice and her dramatic acting as well as her passion and cynicism in the role of Dalila."

- Abigail Brambila, ProÓpera Magazine


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As Giulietta

"As portrayed by three different sopranos, the NCPA production is able to flesh out each character with her charms and vocal distinctiveness.  Carla Dirlikov plays the seductriss Giulietta, with a physique and acting skulls to match."

-Raymond Zhou, China Daily



As Maddalena


As Fenena


"Carla Dirlikov was a sexy Maddalena"

-Opera Magazine

"Likewise, mezzo-soprano Carla Dirlikov, as Sparafucile's sister and co-conspirator Maddalena, offered a lusty lady of the night with a fine, sultry voice."

-Lawrence B Johnson, Detroit News

"Carla Dirlikov’s Maddalena was a hussy who would tempt the devil himself."

-Jeffrey Kaczmarczyk, Grand Rapids Press


"As Fenena, the hapless daughter of Nabucco, Carla Dirlikov carried her own."

-Opera Magazine

"Fenena, Princess of Babylon, as sung by Carla Dirlikov, allows for delicate emotions."

-Ruth Crystal-Zaromp, The New Monitor

"Carla Dirlikov as Fenena contribute[d an] admirable vocal performance."

-Lawrence B Johnson, Detroit News


As Eboli

"In the role of Principessa Eboli, the Mexican-American Carla Dirlikov made a shining debut."


-Luttich Von Heinz Godesar, Grenz-Echo

"the rest of the ensemble was rather engaging, with a beautifully portrayed Eboli played by the young and promising Carla Dirlikov, who has a very beautiful voice (she made out brilliantly faced with such a difficult role)"

-Hervey Levy,



 As Preziosilla

"Carla Dirlikov was a sexy Preziosilla"

-Erna Metdepenninghen, Opera Magazine

"Carla Dirlikov had the stage presence that one desires for the role of Preziosilla"

-Bruno Peeters, Crescendo Magazine

"The Preziosilla of Carla Dirlikov was passionate and had the physicality of a Carmen"

-Sébastien Foucart,

More Praise...

Les Nuits d'Ete, Sinfonica de Yucatan, April 2015

"Her solid vocal skill emerges

Carla Dirlikov shows her artistic maturity

Carla possesses in abundance the nuanced precaution required by these six songs. With meticulous attention to detail and a steady synthesis of pitch, she pursues and conquers the right phrasing, making the far-from-the-ordinary rhythmic flow of the texts seem docile. From the onset, the solid talent of Dirlikov emerged in the sumptuous expression of “Soulève ta paupière close /Qu’effleure un songe virginal”.

The skillful technique of the mezzosoprano created such a liberating experience that it simply led us to the essence of lyric beauty. Those qualities speak for themselves: emotiveness, idealized nuance, mastery of style, and an intuition for intimacy. 

Of the remaining songs there was one, “Absence”, which represented the culminating moment -not before and not after- in the voice of Ms. Dirlikov. Executing her rendition in warm vocal subtleties, the gentle guest artist discerned a variety of accents and transmitted the legacy of emotion and supplication proclaimed by the verse “Reviens!  Reviens!”.  A prolonged, heartfelt applause rewarded both soprano and orchestra."

- H. Alvarez Jorge Rendon, Diario de Yucatan

"Mezzo-soprano Carla Dirlikov displayed a rich sound, full at the bottom, in the crucial “Pie Jesu” movement"

-Charles Downey, Washington Post

"Carla Dirlikov provided strong support as Flora"

Jack Belsom, Opera Magazine

“The voices heard on Thursday evening were all good, as a whole, but a certain performer clearly distinguished herself above the rest: a beautiful tall woman by the name of Carla Dirlikov as Pénélope...The voice, projection, the presence, the gesture: all indicated the beginning of a great career.”

-Claude Gingras, La Presse

“However, the most compelling voice of the evening, one that grabbed the heartstrings with its dramatic force and musicality, was that of Carla Dirlikov as Riel's mother.”

-Pamela Jones, Opera Magazine

"Carla Dirlikov demonstrated a smooth, sizeable mezzo"

-Joanne Sydney Lessner, Opera News

"Mezzo-soprano Carla Dirlikov was a cute, vivacious Rosina. Her voice possesed an appealing warmth."

-Ronni Reich, The Washington Post

"Mezzo-soprano Carla Dirlikov, has returned in the leading role of Rosina to take the stage with her warmth, grace, splendid vocal abilities and acting...she soared to the vocal stratosphere."

-Mary Johnson, The Baltimore Sun