“Kristina’s voice is permanently seductive: When she climbs into the high register, but also when she sinks into the depths and a husky veil wraps itself around her voice. Her expression is boundless: From a text that is centuries old, always understandable, letter by letter, effortlessly rises a fiery voice improvisation.
Moreover she melts her voice with the soprano- and tenorsaxophone in a unison that has almost never heard like this before. Seldom has a concert touched a human soul as this one did.” (Rinus van der Heijden, Jazznu 2018)
“Kristina’s possibilities are fabulous. The command, the capacity to listen and react, but above all the rich addition of her vocals to the group sound, make a comparison to the Norwegian voice-artist Sidsel Endresen an understatement.” (Tim Sprangers, Volkskrant 2010)
“Her voice is velvety and seductive without sounding imposing for one single moment. She improvises in a playful manner, and in a completely natural way she integrates little pieces of Indian-sounding improvisation, a Swiss Alp-echo or a jazz-lick. All this she does in the service of music, it’s not about her. Kristina Fuchs is one with her band. There are only very few singers who can achieve this.” (Koen Schouten, Volkskrant 2005)
“Who would have been the ‘great discovery’ of the North Sea Jazz Festival of this year? The airy, blues-soaked alto of the Swiss, Hague-based singer Kristina Fuchs in her ballad “Sister Moon”? Parting from earlier choices I would guess Kristina Fuchs would score highly. To be true to oneself: That’s maybe the greatest art of a musician. To not get intimidated by what happens elswhere. Concerning that Kristina Fuchs chose her own way: Regarding content in her repertoire, but also in the use of her voice technique she has found a mode wherein she can set her own course.” (Kees Polling, Trouw 2000)