"…a dramatic soprano of striking stage presence, with exactly the “searing glance” needed for the supernatural Valkyrie."
- The Arts Desk
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Killian Farrell, Conductor
Axel Ranisch, Stage Director
Killian Farrell, Conductor
Axel Ranisch, Stage Director
Killian Farrell, Conductor
Axel Ranisch, Stage Director
Killian Farrell, Conductor
Axel Ranisch, Stage Director
Killian Farrell, Conductor
Axel Ranisch, Stage Director
Killian Farrell, Conductor
Axel Ranisch, Stage Director
Debuts at Staatsoper Stuttgart and the Teatro di San Carlo Napoli as Fata Morgana in Love for three Oranges; Donna Anna in Flammen at Prague National Theatre, Emilia Marty The Makropulos Affair, Madame Lidoine Dialogues des Carmélites, Katerina Izmailova Lady Macbeth of Mtsensk, Lisa Pique Dame for Helikon Opera Moscow as a member of the soloists ensemble.
Debut as Renata Prokofiev's The Fiery Angel at the La Monnaie Brussels. Renata The Fiery Angel at Bayerische Staatsoper Munich, Komische Oper Berlin, Deutsche Oper am Rhein Düsseldorf, Scottish Opera Glasgow. Abigaille Verdi’s Nabucco at the Mariinsky Theatre; the title role in Puccini’s Tosca at Latvian National Opera Riga; Katerina Izmailova in Shostakovich's Lady Macbeth of Mtsensk at Deutsche Oper Berlin, Den Norske Opera Oslo, Finnish National Opera Helsinki, Stadttheater Klagenfurt. At Glyndebourne festival as Lady Macbeth in Verdi’s Macbeth and Kostelnička in Janáček's Jenůfa. At the Moscow Helikon Opera as Katerina Izmailova Lady Macbeth of Mtsensk, Emilia Marty Věc Makropulos, Madame Lidoine Dialogues des carmélites, Liza Pique Dame, Maria Mazeppa, Dvořák’s Rusalka, Stefanie Giordano’s Siberia. With the Russian National Orchestra as Sieglinda Die Walküre and as the soprano soloist Shostakovich’s Symphony №14. [*- cancelled]
The Fiery Angel
Bayerische Staatsoper
The Fiery Angel
Bayerische Staatsoper
Lady Macbeth of Mtsensk
Greek National Opera "... a compelling Katerina Izmailova" - Athens Voice
Lady Macbeth of Mtsensk
Greek National Opera "... a compelling Katerina Izmailova" - Athens Voice
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.
…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.
Fata Morgana was played by soprano Svetlana Sozdateleva; she sang well and was a good comedian.
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.
