“…Best of all, for the ambiguity of her motivations, the strength of her presence and the beguiling eccentricity and ethereal purity of her voice, is Erika Hammarberg as the key victim, Markéta. It’s virtually impossible to take your eyes off her.”
Tim Burne, Review of the opera Innocence (Adelaide Festival), The Guardian (Australia) 1.3.2025
“The absolute star is Erika Hammarberg in the role of Markéta – or rather, Markéta’s ghost – one of the deceased students… …But she commands the role with a fragile, strong, and clear voice that is among the most beautiful I have ever heard.”
Charlotte Wiberg, Review of the opera Innocence (Royal Danish Opera), Expressen (Sweden) 12.10.2026
https://www.expressen.se/kultur/efter-skolskjutningen-ar-ingen-helt-oskyldig
“Erika Hammarberg, as a folk singer with an intensely penetrating voice, serves as a fascinating counterpoint to the classical vocal style of the others, portraying the daughter as a rebellious, self-assured, and headstrong adolescent.”
Reinhard J. Brembeck, Review of the opera Innocence (Nuremberg State Theater), Süddeutsche Zeitung, November 5, 2025
https://www.sueddeutsche.de/bayern/innocence-oper-nuernberg-premiere-kritik-li.3331958
“…A bigger surprise is Erika Hammarberg. She was meant to be just a guest artist but made such a striking impact as a singer and composer that the daughter became an equal band member alongside her mother. And yes, Erika Hammarberg’s name is one to remember. Her voice glistens. Unbelievably enchanting…”
Mari Koppinen, review of SANS album Kulku in Helsingin Sanomat November 27, 2018
https://www.hs.fi/kulttuuri/art-2000005913409.html