Plays to See - 19th August 2023

“The witches of Eleanor Sanderson-Nash and Shakira Tsindos, the spirit of Michael Bell and the Sorcerer of Kieran Rayner all made strong impressions as well.”

“This was an evening of both musical and dramatic pleasures presented by a young, attractive and utterly professional group of performers.'“

Opera Scene - 21st August 2023

“Eleanor Sanderson-Nash, Shakira Tsindos and Michael Bell as the sorcerer’s evil minions and manipulators add to the sense of a dastardly plan in execution. The manifestation of Jove’s “messenger” is particularly effective.”

Opera Today - 17th June 2023

“Whilst the story might be a child-friendly one, Humperdinck's music is richly romantic in a neo-Wagnerian vein… But it means that the opera is a big sing, there is no room for partially formed voices, the two leads need to grasp the music and run with it.

And this, Shakira Tsindos and Emily Christina Loftus did in spades. From the outset, when they are acting in dumb show during the overture, the two formed a delightful connection. Tsindos was an appealing Hansel, unruly yet not too brattish and with personality in spades. She was matched by Loftus whose Gretel was perhaps sharper and more street-smart than usual. There were lots of delights on the way, as both handled their solos and duets with an appealing sense of style, but what carried us along was the sense of character and drama that the two brought to the roles.”

Opera Wire - 29th June 2023

“Her trouser role counterpart, Shakira Tsindos, sang Hänsel with swashbuckling verve. She found a nice balance between both warmth and swagger. Her impressive chest voice reflected the character’s open-heartedness and exuberance.”

“The title pair are effervescent and playful in the kitchen in Act one.”

Arcana - 16th June 2023

“The eponymous figures were as well matched vocally as visually. Shakira Tsindos proved a Hansel likable for all his gaucheness and gullibility – projecting the character with flair and immediacy.”

ScotsGay Arts - 24th October 2022

“Shakira showed how much fun a good mezzo can have, switching emotions and gender with consummate ease.”

“Shakira prowled menacingly and tempted beguilingly”

“[Zoe and Shakira’s] exquisite vocal lines, clashing against and twining around each other, are supported by sparse and simple orchestral lines which accentuate the pain the singers are experiencing: it was simply magic.”

Planet Hugill - 16th June 2022

“The Princess scene from Ravel's L'enfant et les sortileges was stylishly performed by Shakira Tsindos and Ffion Edwards”

Vox Carnyx - 26th February 2022

“The most dynamic of the latter group was Shakira Tsindos, who followed that with a strutting Alcina, with Joanna Harries as Ruggiero and Sian Griffiths as Bradamante.”

David Buchler, Opera Now Magazine - March 2022

“A reprise of the Cinderella story towards the end of the evening saw the thrilling Shakira Tsindos star in the title role of Massenet’s Cendrillon.”

Planet Hugill - 21st January 2022

“Husieva made a poised, charming Servilia, phrasing beautifully and providing a foil to Tsindos' serious Annio sung with a strong vibrant line.”

 Fairy Powered Productions - 14th November 2021

“From the moment Shakira Tsindos’s haughty, fickle, gypsy girl Carmen clad in denim hotpants, sang the famous aria ‘Love is a rebellious bird’ (l’amour est un oiseau rebelle) with attitude the tone of the Opera was set.”

Planet Hugill - 11 December 2019

“The opera starts with a sarabande and a musette, and the sense of older classical forms is never far away in the piece. I rather like the way Smyth's instrumental lines seems to weave their way round the voices, something emphasised by the small-scale orchestration. Smyth uses this to set up an artificial atmosphere populated by characters whom we discover to have real emotions. This is not a game, and Smyth's music makes the successful transition into seriousness without ever losing the neo-Classical atmosphere.”

“The opera is well served by the young cast who bring a nice effortlessness to their roles and the way voices and instruments interact.”

Gramophone - January 2020

“It’s an ensemble piece in every sense, and under Odaline de la Martinez the singing of the cast is as light, lively and expressive as Lontano’s playing – perfectly weighted to the material”

“The choral singing is equally well focused.”

Pforzheimer Zeitung - 27 May 2019

DE: “Der neben seiner Regie-Aufgabe zusätzlich als böser Geist auftretende Countertenor Wanderer, der mit seinen beiden feurigen Hexen (Mezzosopranistin Shakira Tsindos und Sopranistin Sophie Sparrow) die Fäden der gemeinen Verschwörung gegen Dido zieht.”

ENG: “In addition to his directing role as the evil spirit, countertenor Wanderer orchestrates the sinister plot against Dido with his two fiery witches (mezzo-soprano Shakira Tsindos and soprano Sophie Sparrow).”

OperaChaser - 31 May 2018

"Most importantly, it’s sung with clarity and acted with such conviction by a troupe of enthusiastic and exceptional singers - Kate Amos, Eleanor Blythman, Shakira Tsindos, Nathan Lay, Simon Meadows and Michael Lapina with expert piano accompaniment by Jane Matheson/Pam Christie - that no kid critic could criticise."

O'Connell The Music - 20 March 2018

"Both Dugan and Tsindos as the thieving Wombat and Possum leaped into their roles with plenty of vim"

OperaChaser - 16 March 2018

"Puddin’ Thieves Shakira Tsindos as Possum and Shakira Dugan as Wombat, were a perfect borderline bumbling pair in their conniving pursuits."

Stage Whispers - 14 March 2018

"Mezzos Shakira Dugan and Shakira Tsindos did well as the Pudding Thieves"

O'Connell the Music - 20th February 2018

"Both soprano Suzanne Shakespeare and mezzo Shakira Tsindos took on the minute parts of the servant-girls questioning Peter outside the High Priest’s house.  Both were enlisted for meditative ariosos/arias after Peter’s denial and after Christ’s interchange with Pilate, pages that asked for and received a good deal of plangency but calculated for comfortable singing – nothing like the terrifically exposed female solo lines that the elder Bach wrote."

Brian Dickie - 1st August 2017

"There was an excellent Cosi with a beautifully balanced cast - great sisters (Anush Avetisyan and Shakira Tsindos)"

Limelight - 17th June 2017

"A key focus-point of the oratorio is, of course, its archangels Uriel, Gabriel, and Raphael, performed by Staples, Stagg, and Davies respectively. Emerging mezzo-soprano Shakira Tsindos joined the cast for the final chorus."

Bachtrack - 18th June 2017

"As a trio of angels, briefly joined at the end by mezzo Shakira Tsindos, the soloists were suitably heavenly of voice."

Classic Melbourne - 20th June 2017

"The final chorus of praise saw mezzo soprano Shakira Tsindos join the other soloists for their very brief contribution to the ‘’Amens”, and orchestra and choir concluded the performance with an energetic flourish, leaving us with Haydn’s infectious joyfulness."

O'Connell The Music - 13th March 2017

"The Nightingale/Cuckoo duet that begins the opera in a lush field of impressionism found Zoe Drummond and Shakira Tsindos sharing the labour – and the pages are not easy; although not asking for dynamic projection, they do hold an amount of fioriture that is high and exposed."

Man in Chair - 12th March 2017

"Zoe Drummond and Shakira Tsindos get the performance off to a terrific start with their gorgeous vocals as the Nightingale and the Cuckoo"

Classic Melbourne - 16th March 2017

"Victorian Opera’s voices are young, but exceptional. All of the score was beautifully handled by all performers – every moment was delivered with delightful accuracy, clarity and expression throughout."

The Guardian - 15th August 2016

"A showcase of sorts for five of the best from Victorian Opera’s professional development program – Kate Amos, Daniel Carison, Michael Petruccelli, Michelle McCarthy and Shakira Tsindos."

Herald Sun - 15th August 2016

[Michael Petruccelli] is joined by fellow members of VO’s Professional Development Program, Kate Amos, Daniel Carison, Michelle McCarthy and Shakira Tsindos, performing their best as Laughter’s minstrels.

Limelight - 14th August 2016

"Laughter allows some up-and-coming singers of the company a chance to shine. Michael Petrucelli acquits himself well as Arlecchino, assisted by the well-blended voices of Kate Amos, Daniel Carison, Michelle McCarthy and Shakira Tsindos."

Man in Chair - 14th August 2016

"Talented young singers Kate Amos, Daniel Carison, Michelle McCarthy and Shakira Tsindos join Petruccelli as wobbly minstrels trying to stay on track in the chaos of act one."

Classic Melbourne - 19th July 2016

"Cristina Russo and Shakira Tsindos made a lively pair of horrible sisters, more ugly of character than physical appearance... The trio drew quite a few laughs with their pouting and prancing and generally rude behaviour."

Stage Whispers - 18th July 2016

"...Cristina Russo and Shakira Tsindos playing her daughters, getting lots of laughs."

Man in Chair - 13th April 2016

"In a highly auspicious professional debut, Shakira Tsindos lends strong support as Lucia’s maid and companion Alisa, more than holding her own as she sings with Pratt in Act One."

Herald Sun - 13th April 2016

"Shakira Tsindos is a demure and sweetly sung Alisa"

The Sydney Morning Herald - 13th April 2016

"Smaller roles –  Shakira Tsindos' maid ... made their marks in various ways."

Australian Book Review - 14th April 2016

"Still, Donizetti animates and melodises all his characters, however minor. Shakira Tsindos was a striking Alisa."

Classic Melbourne - 14th April 2016

"Shakira Tsindos was a sympathetic Alisa"

Stage Whispers - 13th April 2016

"... Shakira Tsindos ... distinguished themselves in smaller roles."

Cut Common - 21st April 2016

"Mezzo Shakira Tsindos is charming as Lucia’s handmaiden, Alisa."

Daily Review - 15th April 2016

"There are nice turns from Jud Arthur as resident chaplain Raimondo and Shakira Tsindos as Lucia’s handmaiden."