Anastasia Kalagina

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.
Vedomosti

Anastasia Kalagina as Madame Cortese impressed with the precision of her coloratura.
Opera Today

As the title character, Anastasia Kalagina’s bright sound exuded radiance, and easily navigated the role’s occasional Rossini-like fireworks.
MusicWeb

Soprano

• 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, 1^st 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.

Repertoire at the Mariinsky Theatre:
Xenia (Boris Godunov)
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)
Gilda (Rigoletto)
Nannetta (Falstaff)
Micaëla and Frasquita (Carmen)
Teresa (Benvenuto Cellini)
Ilia (Idomeneo, re di Creta)
Susanna, the Countess (Le nozze di Figaro)
Donna Anna and Zerlina (Don Giovanni)
Pamina (Die Zauberflöte)
Woodbird (Siegfried)
Woglinde (Götterdämmerung)
Freia and Woglinde (Das Rheingold)
Sophie (Der Rosenkavalier in concert)
Marguerite de Valois (Les Huguenots)
Antonia (Les Contes d’Hoffman)
Octavie (Massenet’s Cléopâtre, concert performance)
Mélisande (Pelléas et Mélisande)
Flower Maiden (Parsifal)
Zerbinetta and Naiad (Ariadne auf Naxos)
Roles of Eve in The Creation and Hannah in The Seasons by Haydn, soprano parts in Bach’s Matthäus-Passion, Mass in B minor and Weihnachts-Oratorium, Mozart’s Requiem and Grand Mass in C minor, Beethoven’s Missa solemnis, Mendelssohn’s oratorio Elijah, Brahms’ Ein deutsches Requiem, Dvořák’s Stabat Mater, Fauré’s Requiem, Mahler’s Second, Fourth and Eighth symphonies, Debussy’s Le Martyre de saint Sébastien, Orff’s Carmina Burana, Shostakovich’s song cycle From Jewish Folk Poetry, Samuel Barber’s Knoxville: Summer of 1915 and Felix Kruglikov’s cantata God Saves All (to verse by Anna Akhmatova); Musorgsky’s song cycle The Nursery, Rachmaninoff’s Six Poems for Voice and Piano, Poulenc’s song cycle Fiançailles pour rire, Richard Strauss’ Vier letzte Lieder

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.