"…a dramatic soprano of striking stage presence, with exactly the “searing glance” needed for the supernatural Valkyrie."
- The Arts Desk
Represented by
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Evgeny Brazhnik, Conductor
Dmitry Bertman, Stage Director
Filipp Selivanov, Conductor
Dmitry Bertman, Stage Director
Filipp Selivanov, Conductor
Dmitry Bertman, Stage Director
Katerina Lady Macbeth of Mtsensk with Greek National Opera and New National Theatre Tokyo, Brünnhilde Götterdämmerung with London Philharmonic Orchestra, Santuzza Cavalleria rusticana, Emilia Marty The Makropulos Affair, Madame Lidoine Dialogues des carmélites with Helikon Opera Moscow.
Katerina Lady Macbeth of Mtsensk with Metropolitan Opera, and as Fata Morgana L’amour des trois oranges at Staatsoper Stuttgart, Brünnhilde Götterdämmerung, Brünnhilde Die Walküre, Madame Lidoine Dialogues des carmélites, Anna Die 7 Todsünden, Ekaterina II Tsarina with London Philharmonic Orchestra, Deutsche Oper Berlin, Komische Oper Berlin, Finnish National Opera, Moscow State Symphony Orchestra and Norwegian National Opera, Renata The Fiery Angel at Bayerische Staatsoper, Deutsche Oper am Rhein,Scottish Opera Glasgow, La Monnaie Brussels, Polish National Opera. Lady Macbeth in Verdi’s Macbeth and Kostelnička in Janáček's Jenůfa at Glyndebourne festival.
The Fiery Angel
Bayerische Staatsoper
The Fiery Angel
Bayerische Staatsoper
Lady Macbeth of Mtsensk - Katerina Lvovna Izmailova - Act I Highlights
Metropolitan Opera
Lady Macbeth of Mtsensk - Katerina Lvovna Izmailova - Act I Highlights
Metropolitan Opera
Lady Macbeth of Mtsensk - Katerina Lvovna Izmailova
Finnish National Opera
Lady Macbeth of Mtsensk - Katerina Lvovna Izmailova
Finnish National Opera
Starting with the protagonist Svetlana Sozdateleva, whom we had heard at the premiere of the play four years ago and since then she has deepened even more into the tragic heroine, the role of Katerina suits her vocally. The volume of her voice and her excellent technique allow her to face the huge and often terribly loud orchestra fearlessly (only on one or two high notes did she sound a little shrill) and to support the lower range of the voice perfectly in the pensive monologues. In the final scene, on the road to Siberia, she captivated with both her singing and her acting, a worthy top singer-actress.
Dynamic, beautiful, with excellent technique and a strong, bright, well-focused voice, precise and effortless singing, the blossoming Russian soprano Svetlana Sozdateleva was a convincing Katerina.
Sozdateleva navigated the score’s jagged edges and melodic hairpin turns with ease — but not so much that her Katerina Ismailova ever looked satisfied with her steadily diminishing lot in life.
Sozdateleva portrays the glamorous gluttony that is Katerina exceedingly well. A repressed and all too powerful female, ready to burst at any moment. Her voice stews and carefully calculates, simply biding time. One can sense this role is made for her. She is the gatekeeper who knows exactly how to tell this story. Audience members could not take their eyes off her. She also had a special connection throughout the opera with Wilson. The two women were an extremely powerful combination. History being made!
But the opera is dominated by Katerina, its scheming Lady Macbeth. In an excellent Met debut, the soprano Svetlana Sozdateleva is seen-it-all yet soulful, and often magnetically still, as if dazed by the world veering around her. Her voice becomes strident and slicing as it rises in pitch and intensity, but it’s never ugly. When Sergei first seduces Katerina and she limply resists, singing, “I’m a married woman,” Sozdateleva conveys the line’s strange cool tenderness; it’s not sincere, but it’s not a joke.
Uneingeschränkt glücklich wird man diesmal auch mit dem Sängerensemble: Svetlana Sozdateleva verausgabt sich darstellerisch und stimmlich bis an ihre Grenzen. Sie ist eine ungemein facettenreiche Katerina Ismailowa, von unbefriedigt über lasziv bis exzessiv.
Fata Morgana was played by soprano Svetlana Sozdateleva; she sang well and was a good comedian.
…a dramatic soprano of striking stage presence, with exactly the “searing glance” needed for the supernatural Valkyrie, Svetlana Sozdateleva, to give of her vocal and dramatic best.
Svetlana Sozdateleva was the tireless, metallic-sounding Brünnhilde
Svetlana Sozdateleva was an excellent Brünnhilde, both commanding and vulnerable.
The impressive Russian soprano Svetlana Sozdateleva, the Lady Macbeth of the title, created a compelling Katerina Ismailova, full of passion and urges, ready to do everything -even murder- and to accept the consequences, to free herself and live love. Following her movement and listening to her robust, shinning voice, we felt her inner struggle, the boredom next to her boring husband, the hatred for the tyrannous lustful father-in-law, the desire and jealousy for Sergei. She became the anti-hero that forces you to like her, even to give reason to her actions, exactly like Shostakovich would have liked.
The experienced, spirited Russian soprano Svetlana Sozdateleva was a perfect Katerina: young, beautiful, with excellent technique and strong luminous, well-focused, precise voice.
