Anastasia Kalagina’s weightless, crystal-like and yet, at the same time, heartfelt and warm voice and her commanding position, not just vocally but generally as a musician, make one convinced that true Mozart is possible on the Russian stage too.
Anastasia Kalagina as Madame Cortese impressed with the precision of her coloratura.
As the title character, Anastasia Kalagina’s bright sound exuded radiance, and easily navigated the role’s occasional Rossini-like fireworks.
• Prize-winner at the International Vocalists’ Competition in China (2005).
• Prize-winner at the V International Rimsky-Korsakov Young Opera Singers’ Competition (St Petersburg, 2002, 1st prize).
• Recipient of the special Stanisław Moniuszko Prize at the International Stanisław Moniuszko Vocalists’ Competition (Warsaw, 2001).
• Recipient of the Montblanc New Names prize (2008).
Anastasia Kalagina graduated from the St Petersburg State Rimsky-Korsakov Conservatoire. In 1998 she joined the Mariinsky Academy of Young Opera Singers. Anastasia Kalagina has been a Mariinsky Opera soloist since 2007.
Roles she has performed at the Mariinsky Theatre include:
Marfa (The Tsar’s Bride)
Snegurochka (The Snow Maiden)
Swan Princess (The Tale of Tsar Saltan)
Ninetta (The Love for Three Oranges)
Natasha (War and Peace)
Louisa (Betrothal in a Monastery)
Lolita (Lolita in concert)
Madama Cortese (Il viaggio a Reims)
Adina (L’elisir d’amore)
Norina (Don Pasquale, in concert)
Micaëla and Frasquita (Carmen)
Teresa (Benvenuto Cellini)
Ilia (Idomeneo, re di Creta)
Susanna, the Countess (Le nozze di Figaro)
Zerlina (Don Giovanni)
Pamina (Die Zauberflöte)
Freia (Das Rheingold)
Sophie (Der Rosenkavalier in concert)
Antonia (Les Contes d’Hoffman)
Mélisande (Pelléas et Mélisande)
Flower Maiden (Parsifal)
and Zerbinetta and Naiad (Ariadne auf Naxos).
The singer’s concert repertoire includes the soprano roles in Bach’s Matthäus-Passion, Mendelssohn’s oratorio Elijah, Mahler’s Second, Fourth and Eighth Symphonies, Mozart’s Requiem, Fauré’s Requiem, Brahms’ Ein Deutsches Requiem, Dvořák’s Stabat Mater and Orff’s Carmina Burana.
Her chamber repertoire includes romances by Russian and European composers such as Rimsky-Korsakov, Tchaikovsky, Rachmaninoff, Medtner, Shostakovich, Schumann, Schubert, Liszt, Brahms, Fauré and Debussy.