Reviews.

I first met her when she sang the kitty Shtcherbatskaya in my production — the musical by Vladislav Uspensky, which is Opera. And it was such a gentle, charming, sensitive. I was struck by the combination of beauty, agility, liveliness, beautiful unique voice and desire to sing the part perfectly at all cost. Then I heard her in three versions of Iolanta, and each time it was different. After enjoyed her Martha in "The Tsar's bride". Was genuinely surprised at how she appreciates the poetry of Pasternak and Tsvetaeva in piano and vocal cycle "Two suns getting cold" by Vladislav Uspensky. I can say that every appearance of Anna Zolotova is a jewel of the opera. Each of her appearance arouses interest of the audience and I want to believe that her dedication, her desire every day to become better mentally, spiritually richer and work 25 hours a day will prove to us that she's an individual with an interesting voice and interesting voice of the soul. Irina Taymanova Honored Artist of Russia

Passion, constant dedication, hard work and artistry, mastery voice of ownership combined with the boundless love of music allowed her to achieve creative results. Anna — winner of international and national competitions. The creativity of the young singer appreciate the outstanding masters of Russian vocal and theatre arts. Anna is actively promoting the professional vocal performance. It takes part in the festivities, charity events and creative meetings, both in Russia and abroad. The young singer Anna Zolotova performing great future. Natalia Afanasyeva Honored worker of culture of Russia

The Cavatina of page from Opera Meyerbeer's "Les Huguenots" she sang easily and skillfully, and Aria of Marfa from "The Tsar's bride" by Rimsky-Korsakov — a touching and poetic. Managed to convey the most important — the characters. Once the first performer of the role of Marfa Nadezhda Zabela Vrubel (wife of the artist Vrubel) said that no one will ever be able to take better — singer of a woman's soul, quiet dreams, love and sadness. But Anna sang this Aria as if Rimsky-Korsakov wrote it for her. It is believed that this party requires exceptional voice, as sung in a low voice, which is very hard to do in the high register, but Anna did — she sang so expressive, pure, so gentle, that the hall, barely waiting until the end, literally exploded with applause. So rough a reception even more "warmed up" conductor Shcherbakov: he did not interrupt much applause and to continue the concert — on the contrary, expressive gestured at the scenes and literally forced Anna to once again be a bow to the audience. Samara Philharmonic