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Aigul Akhmetshina - Profile picture
© Andrey Uspensky

Mezzo Soprano

Aigul Akhmetshina

"The Russian mezzo Aigul Akhmetshina is only in her early 20s, but she has got it all: striking good looks, a vibrant stage presence and a great voice. ‘The new Netrebko’"
- David Mellor, Daily Mail

Represented by

Marcin Kopec
marcin@tact4art.com
+44 79 81 91 88 14

Kamelia Manovska
kamelia@tact4art.com

Representation

General World


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Upcoming Past
Oct 2021
31.
19:00

19:00

Paolo Arrivabeni, Conductor

Nov 2021
4.
19:00

19:00

Paolo Arrivabeni, Conductor

Nov 2021
7.
18:00

18:00

Paolo Arrivabeni, Conductor

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Oct 2021
9.
19:30

19:30

Riccardo Frizza, Conductor
Stefan Herheim, Stage Director

Oct 2021
5.
19:30

19:30

Riccardo Frizza, Conductor
Stefan Herheim, Stage Director

Oct 2021
3.
19:30

19:30

Riccardo Frizza, Conductor
Stefan Herheim, Stage Director

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Biography Highlights

 
 

Current Season

Debut with Teatro Real as Angelina La Cenerentola, with Opéra national de Paris as Rosina Il Barbiere di Siviglia, return in the same role to Deutsche Oper Berlin, Maddalena Rigoletto and Lola Cavalleria Rusticana Royal Opera House, Polina Pique Dame Baden-Baden Festival and Berliner Philharmoniker with Kirill Petrenko, Fenena Nabucco Staatsoper Hamburg, the mezzo part in Szymanowski’s Stabat Mater with The Netherlands Radio Philharmonic Orchestra and concert with The National Philharmonic Orchestra of Russia under the baton of Maestro Spivakov.  

 
 

Future Engagements

Future engagements include debuts at the Metropolitan Opera, Bayerische Staatsoper, Gran Teatre del Liceu, Dutch National Opera, and returns to Royal Opera House, Opernhaus Zürich, Glyndebourne Festival, Deutsche Oper Berlin among others.

 
 

Other Engagements

Rosina Barbiere di Siviglia Opernhaus Zürich, Olga Eugene Onegin Gran Teatre del Liceu*, Prince Orlofsky Die Fledermaus New National Theatre Tokyo, Varvara Katya Kabanova Glyndebourne Festival, Returns to the Royal Opera House as Carmen, Deutsche Oper Berlin as Fenena Nabucco and Carmen, Polina Pique Dame Teatro di San Carlo Napoli, Hannah Die Passagier at Teatro Real Madrid, Rosina Barbiere di Siviglia and Olga Eugene Onegin* with Israeli Opera, Dulcinea Don Quichotte for Wexford Opera Festival, Stabat Mater with the Netherlands Radio Philharmonic*, Preziosilla La Forza del Destino, Carmen in Barrie Kosky’s production and Carmen La Tragédie de Carmen at the Royal Opera House, a concert version of West Side Story with Accademia di Santa Cecilia [*- cancelled] 

 
 

Awards

Grand Prix at the International Hans Gabor Belvedere Singing Competition.

 
 

Portraits

2
© Andrei Uspensky

"Carmen" from the Royal Opera House

"Carmen" from the Royal Opera House

"Carmen" from the Royal Opera House

Royal Opera House Covent Garden- Carmen's Card Aria "En vain pour éviter"

"Carmen" from the Royal Opera House

Royal Opera House Covent Garden- Carmen's Card Aria "En vain pour éviter"

"Carmen" from the Royal Opera House

Royal Opera House Covent Garden - Carmen's aria "Seguidilla"

"Carmen" from the Royal Opera House

Royal Opera House Covent Garden - Carmen's aria "Seguidilla"

Carmen

Royal Opera House Covent Garden- Carmen's Aria "Habanera"

Carmen

Royal Opera House Covent Garden- Carmen's Aria "Habanera"

 

Reviews & Press

 
 

Teatro di San Carlo - Tchaikovsky - Pique Dame / Queen of Spades - Polina

As Lisa’s companion Polina, Aigul Akhmetshima displayed a powerful mezzo-soprano, with an asserting firmness in the voice that gave her singing an ear-catching tension.
 

- Lorenzo Fiorito , Bachtrack

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Glyndebourne Festival - Leos Janacek - Katya Kabanova - Varvara

 Aigul Akhmetshina sparkles as the naughty, imprudent Varvara.
 

- David Karlin , Bachtrack

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Kudryash’s girlfriend, less likely to be crushed by her place in the Kabanov household than Katya, is lustrously sung by Aigul Akhmetshiina.
 

- David Nice , The Arts Desk

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Teatro Real Madrid - Rossini - La Cenerentola - Angelina

El que aquí comentamos es el encabezado por una excelente Aigul Akhmetshina, la joven mezzo rusa, que se está curtiendo en un teatro tan exigente como el Covent Garden londinense. Posee una voz de timbre bello, aterciopelado, de auténtica mezzo. No tuvo ningún problema con las coloraturas que salpican constantemente su parte, especialmente en la magnífica escena final, donde el derroche pirotécnico fue espectacular. Buena actriz, con buen fiato y una proyección potente y bien entonada, se convirtió, para mí, en un auténtico descubrimiento.
 

- Javier del Olivo , Platea Magazine

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Ésta última fue justamente la protagonista, la Angelina de Aigul Akhmetshina, mezzosoprano rusa de 25 años, posee una voz segura en todos los registros, que se muestra equilibrada tanto en las arias solistas como en los conjuntos. Derrocha energía y no escasea en potencia, como demostró en el aria final "Nacqui all'affanno"aunque puede que todavía le falte un poco de madurez dramática. En todo caso se revela como una voz con increíble potencial
 

- Leonardo Mattana Ereño, , Bachtrack

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Mezzo-soprano Aigul Akhmetshina in the second cast was making her debut at Teatro Real. For my taste she was the strongest of the second cast: she has an appealing, well-managed voice with sufficient amplitude and the coloratura held no fears for her. She can have an important career.
 

- José Irurzun , Seen and Heard International

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Wexford Festival Opera - Massenet - Don Quichotte - The beautiful Dulcinea

Akhmetshina, already a rising star at Covent Garden for her Carmens, and a thrilling Preziosilla in the B-cast recent Forza del destino (she should have been alongside Anna Netrebko and Jonas Kaufmann), has everything for this role: the looks, the sultry vocal endowment and a natural “watch-me” stage charisma that had the audience on the edge of their seats. We can expect great things from this impossibly young — she is only 23 — singer, if she isn’t pushed into heavy roles too soon.
 

The Times

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Aigul Akhmetshina is very much the star attraction in the cast. Her outstanding success as Carmen at the Royal Opera last summer was evident in the way in which she portrayed the sultry señorita with whom the Don is besotted. Akhmetshina clearly relishes the dance content – perfect flamenco wrists – and her every move crackles with electricity. Her vibrant mezzo is well-suited to the role too, earthy in the guitar-accompanied “Ne pensons qu'au plaisir d'aimer”, but gorgeously shaped in Dulcinée’s apology after she laughingly rejects Quichotte’s proposal of marriage.
 

- Mark Pullinger , Bachtrack

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Aigul Akhmetshina ist optisch und stimmlich eine Idealbesetzung für die Partie der Belle Dulcinée. Mit samtweichem Mezzosopran fängt sie einerseits die Melancholie der Figur ein, wenn sie in ihrer Auftrittsarie die Vergänglichkeit der Jugend beklagt, und spielt andererseits absolut glaubhaft die Verführungskunst dieser Femme fatale aus, die ihre Verehrer zappeln lässt. 
 

- Thomas Molke , Online Musik Magazin

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Royal Opera House - Verdi - La forza del destino - Preziosilla

Aigul Akhmetshina was a superbly alluring Preziosilla, executing her song-and-dance numbers with panache and displaying some great low-register vocal technique along the way. She’s a talent to look out for.
 

- David Karlin , Bachtrack

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Royal Opera House - Verdi - La forza del destino - Preziosilla

Aigul Akkmetshina did everything that was asked of her as Preziosilla, which is a lot, ranging from attempted seduction of Don Alvaro, to creating a series of musical-theatre style dance numbers for the final scene of Act Three. Akhmetshina has a high, bright mezzo-soprano voice and is perhaps not a conventional Preziosilla but she shone here with a winning personality and I look forward to her in further roles.
 

Planet Hugill

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Royal Opera House - Verdi - La forza del destino - Preziosilla

Jette Parker Young Artists’ Program member Aigul Akhmetshina was a technically secure and often exciting Preziosilla with a youthful and agile voice. Even more remarkably, this mezzo from Bashkortostan threw herself with gusto into the highly choreographed dance sequences, a mix of chorus line, belly dancing and burlesque. I don’t envy her A-cast colleague who needed to compete with the moves of this multi-talent. 
 

- Philip Eisenbeiss , Interlude.hk

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Royal Opera House - Verdi - La forza del destino - Preziosilla

The star of the evening was undoubtedly Aigul Akhmetshina, whose vivid, vocally lustrous Preziosilla should really have been chosen for the cast. This singer is clearly going places.
 

- Hugh Canning

London Royal Opera House - Recital at Lunch

Aigul Akhmetshina, a 21-year-old Russian mezzo-soprano, is the real deal. She was discovered as a 19-year-old by David Gowland, the artistic director of the Jette Parker Young Artists programme, who proudly and skilfully accompanied her in a lunchtime recital at St Clement Danes in London. Akhmetshina began with Wagner's Wesendonck Lieder, sounding much more mature than 21 (already a Brangäne for Tristan und Isolde), although there's a charming naivety about her. She has the beauty in her voice for this music but also darkness and blade, with an intense vibrato. She's innately musical - and instinctive - which was revealed in Shostakovich's Spanish Songs. Her resonant lower register and easy top combine a 'cool hotness' - perfect for Carmen, which she's covering at ROH next year. Akhmetshina is heading for the major mezzo roles, and deserves to be a big star. 
 

- Louise Flind , Opera Now

London Royal Opera House - Bizet - Carmen - Carmen

Mezzo-soprano Aigul Akhmetshina has an immaculate voice. It is slender, gentle, and soothing on many levels, making her a solid Carmen. She has a ringing top that was on full display throughout the inserted portions of the Habanera, which challenges the singer with a higher tessitura. She managed her voice quite well throughout this version of the piece, especially in moments where she had to sing over a blasting choral ensemble. There was great flexibility in her singing throughout the Seguidille, but she truly shone throughout Gypsy song that opens Act two. Here she not only managed to tackle all of the piece’s vocal challenges, but did so while dancing incessantly. Her voice never sounded the least bit troubled by the choreography; it was a true virtuoso display. “En vain pour éviter” was perhaps the lone moment where her Carmen projected any contrasting emotions, the mezzo darkening her delicate timbre and even expressing a sense of dread with some sharp accents in the lower reaches of her voice as she lamented her fate.
 

- David Salazar , OperaWire

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London Royal Opera House - JPYA Summer Performance -

Aigul Akhmetshina, who opened the second act in Dalila's big aria, launching herseld with ease over the huge orchestration...She has a dark quallity to her voice and shone dramatically on stage
 

- Louise Flind , OperaNow