"Teemets is a soloist with eminent vocal abilities. She could appear as Cleopatra at Händel´s „Julius Caesar” at one moment and move to the other end of the spectre in the next moment turning into Puccini´s sister Angelica."

 Cultural newspaper "Sirp", 6.03.2015, Aare Tool)

"Arete Teemets offered unforgettable memories with her interpretations of the songs by Richard Strauss. Many theatres should open their doors in front of a singer of this quality!"


 (Cultural newspaper "Sirp", 6.02.2015, Tiiu Levald)

"Arete Teemets gave an uplifting performance! Her God-given beautiful vigorous voice has gained a perfect training in Italy."


("Muusika", 4/2014, Virve Normet)

".. mainly thanks to Arete Teemets whose intensity of expression was captivating.."

Review of concert at Thun in Switzerland (10.10.2012)

"... Another highlight of the evening were the dramatic numbers from Verdi's operas "Don Carlos" and "Il Trovatore" and mainly thanks to Arete Teemets whose intensity of expression was captivating. The great feelings of beautifully-voiced Estonian and her singing partners produced goosebumps."

Written by Miriam Schild (Thuner Tagblatt, 12.10.2012) 

"It was passionate, expressive
performance with very good technical level."

Review of solo concert at Saaremaa Opera Days 2012 (19.07.2012)

Arete Teemets finished her BA studies at Estonian Music and Theatre Academy  (Singing class of Nadia Kurem) in 2009 and MA studies at Conservatorio di Musica Santa Cecilia in Rome (Singing class of Rebecca Berg) this spring. Arete Teemets's voice has undergone major changes: Particularly in the bottom register there has arisen brave use of diapason and she has nearly arrived to the secrets of Bel Canto.

Mix with pianist Mihkel Poll in Wagner's "Wesendock Lieder" was interesting and surprising. Interesting beacuse these two musician's are very young and they still have to understand each other's musical thinking. It was amazing how much this interpretation included quaint understanding without any stencil. Two first pieces "Der Engel" and "Stehe still!" are certainly challenge for the future but "Im Treibhaus" sounded incredibly maturely. Mihkel Poll's active pulse in "Schmerzen" put hall full of sound and in "Träume" we heard that cycle has hit it's bottom line!

Programme also included interesting and unheard pieces to our audience such as Maria's aria from Respighi's opera "Maria egiziaca", Donizetti's romance "Beautiful Malvina" and Imogene's aria from Bellini's opera "Il Pirata". I must admit that we heard a very demanding programme. It was passionate, expressive performance with very good technical level.

Written by Tiiu Levald (Cultural newspaper "Sirp", 03.08.2012)