"... the ideal mélange of metal and velvet in her timbre, authentically Italianate in style" - The Opera Critic
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Bertrand de Billy, Conductor
Nicholas Hytner, Stage Director
Bertrand de Billy, Conductor
Nicholas Hytner, Stage Director
Bertrand de Billy, Conductor
Nicholas Hytner, Stage Director
Anton Grishanin, Conductor
François Girard, Stage Director
Anton Grishanin, Conductor
François Girard, Stage Director
Anton Grishanin, Conductor
François Girard, Stage Director
Returns to the Matropolitan Opera as Eboli, Los Angeles as Ulrica, Deutsche Oper Berlin as Amneris and as Ortrud in Lohengrin, as Azucena in Il trovatore at Opernhaus Zürich, MS in Verdi Requiem at Teatro dell’Opera di Roma and the Baltimore Symphony Orchestra, and in a stage version at Dutch National Opera, debuts as Ulrica in Un Ballo in Maschera at Tokyo Spring Festival with Maestro Muti, as Eboli at the Royal Opera House and as Ulrica at the Bayerische Staatsoper.
Maddalena in Rigoletto at the Metropolitan Opera, Venus in Tannhäuser in Los Angeles Opera, Ulrica in Un Ballo in Maschera at Teatro alla Scala and with Chicago Symphony Orchestra with Maestro Muti, house debuts as Carmen at Arena di Verona, Verdi Requiem with the Netherlands Radio Philharmonic orchestra, Marfa in Khovanshchina at Opéra national de Paris, Eboli in Don Carlo and Carmen at Deutsche Oper Berlin, Federica in Luisa Miller at Salzburger Festspiele and Staatsoper Hamburg, Santuzza in Cavaleria Rusticana in Las Palmas; Marguerite in La Damnation de Faust De Doelen Rotterdam, Kundry in Parsifal at Philharmonie de Paris; Eboli in Don Carlo and Dalila in Samson et Dalila at New National Theatre Tokyo; Brangäne in Tristan und Isolde Gasteig München, Elbphilharmonie Hamburg and Baden-Baden, Lyubasha in Tsar’s Bride Bolshoi Theatre Moscow, New National Theatre Tokyo, Amneris in Aida, Princess de Bouillon in Adriana Lecouvreur, Didon Les Troyens, Dalila, Clara d’Almanza in Betrothal in a Monastery all at the Mariinsky Theatre St. Petersburg.
Kundry
Wagner - Parsifal
Kundry
Wagner - Parsifal
Lyubasha
Rimsky-Korsakov - Tsar's Bride
Lyubasha
Rimsky-Korsakov - Tsar's Bride
Princess de Bouillon
Cilea - Adriana Lecouvreur
Princess de Bouillon
Cilea - Adriana Lecouvreur
Je vais mourir ... Adieu, Fière Cite
Les Troyens
Je vais mourir ... Adieu, Fière Cite
Les Troyens
Magnifica nel velluto dell’emissione e per la padronanza dei suoni agli estremi del suo registro, poi, il mezzosoprano Yulia Matochkina che, da verdiana doc, scontorna un Liber scriptus da manuale per la quota espressiva con cui governa accenti, pause e dinamiche, le sfumature in pianissimo nei salti o l’incedere in crescendo nel doppio puntato, accompagnando ad arte le esplosioni di voce.
the most compelling Eboli the company (Metropolitan Opera) has had in decades
Yulia Matochkina was a visually alluring and vocally exciting Princess Eboli. The Russian mezzo-soprano, who made her Met debut in 2022 as Maddalena in Rigoletto, has a powerhouse of a voice. Its beauty was revealed in her enticing and provocative Veil Song, while the intensity which she brought to “O don fatale’, made the aria the showstopper it should be.
Yulia Matochkina is een mezzosopraan van Verdiaans formaat, krachtig en voluptueus.
De Russische Yulia Matochkina klonk even majestueus als mysterieus... het androgyne karakter paste perfect bij het quasi-gregoriaanse Agnus Dei.
Grandios die russische Mezzosopranistin Yulia Matochkina. Die Stimme der Matochkina trägt nicht nur durch den gewaltigen Raum, sie verzaubert in ihrem tiefen, warmen, geschmeidigen Timbre; präzis und doch sehr menschlich, leidenschaftlich und dann wieder (in der Gebirgs- und in der Schlussszene) von unerbittlicher, steinerner Härte.
... while the really difficult role of Ulrica finds in Yulia Matochkina a mezzo-soprano capable of pretending to be a laudably contralto.
Yulia Matochkina ha gran voce di timbro seducente, che utilizza senza ostentazione, e delinea una validissima Ulrica. Sfoggia una emissione sul fiato che le consente nell’invocazione, con un opportuno legato, di trasmettere l’ambiguità sfuggente del personaggio, prima con cupa solennità, poi virata in esaltata minaccia, vedi “È lui, è lui!”, con un bel salto d’ottava dal Do grave sotto il rigo al Labemolle acuto. Quindi, senza tentennamenti, la voce si inabissa molto bene in un Sol grave risonante a “Silenzio”, per poi concludere con un La acuto timbrato. Utilizza con fantasia i chiaroscuri necessari a dipingere di fosco mistero “Dalla città all’occaso” e carica di presagi di morte tutto il finale d’atto.
Note positive per la Ulrica di Yulia Matochkina. La voce, dal bel colore scuro, si mostra ben salda, tornita nei centri e naturale nei gravi; particolarmente curato, inoltre, l’accento, sempre sfumato ed incisivo.
The lengthy second scene of Act I, located in the “sorceress’s cavern,” is rightly dominated by the figure Ulrica. In this role, Ms. Matochkina’s singing is revelatory: her extensive vocal range is even, vocal projection is disciplined yet varied, and tonal colors suggest an ample spectrum of emotional possibilities. In her introductory evocation, “Re dell’abisso, affrettati” (“King of the depths, make haste”) Matochkina emitted deeply felt low pitches in her call to raise the spirit to assist her visions. In the second part of her aria the fortune-teller’s palpable excitement was evident on the words “E lui, è lui!” (“It is he, it is he!”). Here Matochkina used blazing top notes to celebrate her success before returning to the earlier low pitches while demanding within her cavern “Silenzio!”
In the balance of the scene Ulrica uses her enhanced powers to tell the fortune of or to dispense advice in succession to the fisherman Silvano, to Amelia, wife of Renato, and finally to the nobleman Riccardo. In each instance Matochkina assumed a vocal color appropriate to the nature of her revelation. In promising Silvano gold and position she attempted to reassure his disbelief. In her advice to Amelia to summon courage while plucking the herb of forgetfulness Matochkina seemed to challenge the tentative fears expressed in Ms. El-Khoury’s cautious entrance. Finally, the prediction of Riccardo’s death at the hand of a friend identified by a handshake is unleashed by the seeress with grim finality.
The role of the mystic Ulrica came into sharp focus with Yulia Matochkina, who sang with commanding intensity and consummate musicianship. Matochkina’s textured voice made Ulrica emerge with striking presence. Her voice was both strong and supple, and the audience showed its appreciation for Matochkina’s effort with spontaneous and well-deserved applause. It was a pleasure to hear this talented singer make her Chicago debut with such a moving performance.
Enter Ulrica, the fortune teller (in a notably mighty performance by the formidable mezzo-soprano Yulia Matochkina).
Denn diese Azucena von Yulia Matochkina stellte ein Ereignis der Extraklasse dar, eine stimmliche Urgewalt, riss mit ihren grossen Arien, Erzählungen und Szenen wie Stride la vampa, Giorni poveri videa oder Ai nostri monti ritorneremo restlos mit und löste Beifallsstürme aus. Aber nicht nur in ihren Fortissimo-Ausbrüchen war sie umwerfend, nein sie verfügte auch über eine betörende Piano-Kultur, welche gerade im Schlussbild sehr berührte.
Matochkina reached similar heights in her portrayal of the Romani woman intent on avenging her mother’s death at the hand of di Luna’s father. She was spellbinding in “Stride la vampa” and in her duet with Manrico, “Ai mostri monti ritorneremo”. In the latter, Matochkina expressed her longing to return to the mountains with a far-away dreamlike simplicity and truly beautiful sound.
Yulia Matochkina fait preuve de brio dans le rôle de Marguerite, mezzo-soprano ample dans les graves et agile dans les aigus, sa voix est claire et timbrée, son chant est distinct. Notamment, elle souligne avec délicatesse l’ « assoupissement » du texte et de la musique à la reprise du thème sus-mentionné, allant jusqu’à chanter les élisions et silences du texte. Par ailleurs, son interprétation de l’aria “D’amour, l’ardente flamme” est impeccable, sa voix est équilibrée et son souffle parfaitement maîtrisé. Particulièrement expressive, dans ses nuances comme dans sa gestuelle, elle émeut et émerveille le public.
die Mezzosopranistin Yulia Matochkina, die mit schönem, rundem Timbre gut mit der Solobratsche und dem Englischhorn in ihren Arien harmoniert...
ottima anche la prestazione nei panni di Olga della connazionale Yulia Matochkina, autentica voce di contralto dalle note gravi potenti e tornite, gradevoli da ascoltare
Yulia Matochkina sang eine Brangäne von stimmschöner Eindringlichkeit und Poesie. Auf ihre sonore Tiefe schloss sich eine prächtige Mittellage an, die in eine leuchtende, glühende und ungemein klangschöne Höhe gipfelte.
Exceptionnelle Kundry de Yulia Matochkina avec Gergiev à Paris. La distribution vocale est (...) irréprochable, dominée par l’exceptionnelle prestation de Yulia Matochkina dans le rôle de Kundry. Tantôt guerrière, séductrice ou mystique, le timbre est rond, l’émission puissante sans vibrato, les aigus dardés, les graves abyssaux.
Von edlem Glanz und gesanglichem Adel war Yulia Matochkinas Federica, die Herzogin von Ostheim
Yulia Matochkina als Gräfin Frederica ließ mit einer wunderbaren Mezzostimme aufhorchen.
Yulia Matochkina’s imposing Frederica brought the ideal mélange of metal and velvet in her timbre, authentically Italianate in style, and in fact slightly reminiscent of the young Fiorenza Cossotto - which is a compliment indeed.
