"Wo Sind die Traenen von Gestern Abend?" - Cabaret, works by Kurt Weill, Eisler, Schoenberg

"Michal Shamir has cast a spell upon the public, which was not aware of sitting quietly, being led through the entire palette of human emotion. And what is Ms. Shamir's speciality? Extreme pianissimi, commentating a dark, low register like silver threads. She knows how to effectively use her big vocal material and to set vocal  explosions, accentuate dramaturgical highpoints with convincing Sprachgestaltung, supported by fascinated acting." -HR2

"Michal Shamir illuminates each song in an exemplary manner ... precision of portrayal of different characters as they appear in each song, and doing so with a timbre which entices her listener into a dream ... The perfect position of her voice lends an erotic fascination to her bright, yet dark piano. Whether Weill, Eisler or Schoenberg, the songs are filled with melancholic magic ... " -Frankfurter Rundschau

"Michal Shamir is a brilliant portrayer of difficult characters. She manages to slalom successfully, not only from costume to costume, but knows how to express the most diverse emotions so that it goes under the skin ... " -Schwetzinger Zeitung

"it was, without doubt or reservation, the evening of Michal Shamir ... owning not only a wonderful voice, but also an extraordinary capacity ... " -Hamburger Anzeiger

"Michal Shamir presents, in perfect German diction, the personification of the cabaret entertainer with such perfection that it is hard to imagine her doing anything else but this repertoire. Only her big, cultivated voice betrays her training as a true opera singer. With great charm and refined acting, she slides between the different roles and characters, depicted in miniature of each song ... she is a mercilessly inquisitive interpreter ... " -General-Anzeiger fuer Bonn

Recital: works by Zemlinsky, Eisler and Weill

"It is only accidentally that Michal Shamir was born in Tel Aviv. In fact, she is a product of Berlin of the 20's. Shamir can safely take her place alongside Marlene Dietrich or Lotte Lenya – the great performers of great dramatic cabaret narrative. It is to our advantage that she dared create a program based solely on that material. However, the unity of period and style were external only. Shamir changes roles and moods with great virtuosity, gliding effortlessly from one extremity of feeling to the opposite. Her voice is agile and rich in all registers, and her official definition as a soprano does injustice to her deep mezzo notes. It was an exciting experience of art, music and theater. Pianist Eitan Pessen was a loyal and attentive partner in the creation of an extraordinary evening. " –Globes Magazine

 Brilliant and refined singing

 "Only one thing will linger after this concert of Musica Nova – a voice. A clear, expressive, strong voice, showing a musical ability far beyond what is needed for an evening such as this (songs by Kurt Weill) – the soprano voice of Michal Shamir.

Shamir exhibits a talent that far eclipsed that of the other participants. In spite of having a rather poor source of inspiration through her accompaniment, she was not hindered from performing 9 songs by Kurt Weil in the most moving way – with deep understanding of each phrase, with unique underscoring of the text, some of which was actually funny, and occasionally bits of brilliant acting in just the right timing and quantity.

In view of this performance, it is hard not to think, with a groan, of Ute Lemper, whose performance is not endowed with a fraction of the talent and brilliance of Michal Shamir, and to groan again at the small number of performances of the locally born Shamir we are awarded in Israel … " –Ha'aretz

La Voix Humaine – Cocteau\Poulenc – Bochum

"For almost an hour, Michal Shamir's voice lends itself to the most extreme means of expression: mourning, lies, guilt, madness, nervous chitter-chatter, love. With her beautiful dark timbre she brings all these emotions into life. Music is never maculature. It is, for Shamir, the source of strength from which she draws, with her impressive presence, the mere stuff which unfolds the complete palette of human inferno … " –Ruhr-Nachrichten

"… The stage is practically empty. And indeed, Shamir requires neither sets nor requisites. As if she'd already experienced this scene herself … she begs, she crawls and demands, she fades into deep despair, frozen with shock, pale and hectic at the slightest shimmer of hope. With her touching dark timbre, she turns panic and relief, disbelief and hope into literally tactile physical sensations … " –Westdeutsche Allgemeine