YULIA MENNIBAEVA Mezzosoprano

Total Page:16

File Type:pdf, Size:1020Kb

YULIA MENNIBAEVA Mezzosoprano YULIA MENNIBAEVA mezzosoprano Yulia Mennibaeva has begun her musical studies under the guidance of Victor Minakov; then, from 2005 to 2010, she has studied with the soprano Galina Pisarenko at the Moscow Tchaikovsky Conservatory and as conclusion of her studies' path she has graduated at the Academy of Choral Arts with Dmitry Vdovin. Her career has begun thanks to the debut in the opera Orfeo ed Euridice. Furthermore, since 2010 she has been performing as soloist at the Kolobov Novaya Opera Theatre in Moscow where she has sung such important roles as Fenena in Nabucco, Dido in Dido and Aeneas, Maddalena in Rigoletto, Third Nymph in Rusalka, Olga in Eugeny Onegin, Kontchakovna in Prince Igor, Tisbe in La Cenerentola, Feodor in Boris Godunov, Spring in The Snow Maiden, Myrtale in Thais, the little robber girl in The Story about Kay and Gerda and Laura in Iolanta. Besides the opera repertoire, she has also been involved in lots of concert, among which we remember the Coronation Cantata by Glazunov at the Festival of the World Orchestras in Moscow (2012), the Mass of the world Armed Man by Karl Jenkins in the Great Hall of the Moscow Conservatory (2014), the Gloria by Vivaldi and Mozart's Requiem at the Moscow Philharmonic (2014), the Petite Messe Solennelle by Rossini at the Yaroslavl Philharmonic (2014), the Alexander Nevsky cantata by Sergei Prokofiev at the Novaya Opera (2016) and the final winners concert of Viñas Competition at the Teatro Real de Madrid (2016). During the Season 2016/2017 of the Opernhaus Zurich Yulia has been soloist of the International Opera Studio. On the stage of one of the most celebrated opera house in the world she has performed the role of Lola in Cavalleria Rusticana, Emilia in Otello, La Tasse Chinoise / La Libellule in L’enfant et les sortilèges. Among the most recent engagements there are the Golden Cockerel by Rimsky-Korsakov at the Concertgebouw and Andrea Chenier at Liceu Opera in Barcelona. Yulia Mennibaeva also use to partecipate in several international competitions and in the past years she has been awarded in lots of them: II Prize Winner and special prize for the best performance of Russian music at the International Competition Francisco Viñas in Barcelona (Spain, 2016), special prize “City of Crema” at the International Competition of Portofino (Italy, 2017); Premium "For bright start in the Art" by the Elena Obraztsova Foundation (Moscow, 2016); I Prize Winner Sobinov Music Festival Vocalists Contest (Saratov, 2015); II Prize Winner at the International Competition Mezzo-soprano Elena Obraztsova dedicated to the memory of Barbieri (St. Petersburg, 2012). Future engagements will see her performing on July 11th 2018 at the Piccolo Festival in Italy and in September 2018 Boris Godunov at the Concertgebouw conducted by Pablo Heras-Casado. April 2018 .
Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • Stereo Review Advertisers' Index October 1978
    MAKE BIG MONEY in spare time selling: Tubes, Antennas, Speakers, Test Equipment, Lite Bulbs, Hi -Fl, etc. No invest- ment. Free information: Allied Sales, Pimento, IN 47866. Records, Ltd., 65-37 Austin Street, Rego STEREO REVIEW (812) 495-6555. Park, N.Y. 11374). ADVERTISERS' INDEX MILLIONS IN MAIL! Free Secrets. Transworld-17, Box 6226, Toledo, Ohio 43614. Performance:Very good OCTOBER 1978 Recording:Excellent AUDIOPHILES WANTED!! Put your knowledge to use, earn READER PAGE an excellent spare time income. We need campus Dealers to This is a very auspicious song -recital debut SERVICE NO. ADVERTISER NUMBER sell name brand stereo equipment at substantial discounts in for Haan Hagegard, the likable Papageno of your area. No investment necessary. For information and ap- 3 A.A.L. Speakers . 145 plication please write: ABCO, Dept SR, 1201 East Main Ingmar Bergman's cinematic Magic Flute, 4 Acoustic Research 153 Street, Meriden, Conn. 06450. Call (203) 238-7979. ADS 155 who is scheduled to make his Metropolitan Advent Corporation 26 27 GET RICH!! Secret law erases debt. Free report exposes mil- Opera debut this season. The favorable im- 83 83 Aa National Guard 109,110 1171 5 Aiwa 127 lionaire'$$ secrets. Blueprints, No. DD10, 453 W 256, NYC pression gained from his previous operatic re- Akai America, Ltd, 10471. 145 cital (Caprice 1062) is confirmed: HagegArd is 6 Allison Acoustics 126 7 $650 WEEKLY for beginners!! Free report: Mailorder Consul- Ampex Corp, 9 a vitalsinger distinguished by a youthful 8 Angel/EMI Records tants MDD10, 453 W. 256, Bronx, NY 10471. 150 sound (he is only thirty-three at this writing) 9 Arista Records 124 10 HOW TO MAKE $100 weekly/kitchen table! Free brochure.
    [Show full text]
  • SALZBURG FESTIVAL 20 July – 31 August 2019 Young Singers Project
    SALZBURG FESTIVAL 20 July – 31 August 2019 Press Release of the Salzburg Festival Young Singers Project 2019 Supported by the Kühne Foundation photo: SF/Anne Zeuner (SF, 2 July 2019) “The lucky hand – or rather, lucky ear – of Evamaria Wieser, the director of the Young Singers Project, is demonstrated by the fact that the participants in the Young Singers Project achieve excellent results at competitions all over the world and are engaged by the best opera houses,” says Festival President Helga Rabl-Stadler. “This year, a total of 13 participants of the Young Singers Project will appear on the programme of the Salzburg Festival. Furthermore, I am particularly pleased that Joel Prieto, a 2008 YSP participant, will sing the title role in Orphée aux enfers.” With the Young Singers Project, the Salzburg Festival has created a high-carat platform for the support of young vocalists, which looks back upon eleven years of successful history in 2019. Since 2008, 157 young vocalists from 41 countries have participated in the Young Singers Project. This year, 13 young singers from eleven nations will take part. They are from Canada, Spain, the UK, France, Russia, Poland, the USA, Ukraine, Ireland and, for the first time, from Mexico and New Zealand. 1 SALZBURG FESTIVAL 20 July – 31 August 2019 The singers are chosen at international auditions. As part of their fellowship, they have the opportunity to work with Festival artists. Tuition includes not only music lessons and repertoire expansion, but also stage rehearsals, language coaching and lied interpretation. Its master classes and strong practical orientation make YSP an international model for young artist programmes.
    [Show full text]
  • Architecture As Frozen Music: Italy and Russia in the Context of Cultural Relations in the 18Th -19Th Centuries
    Athens Journal of Humanities & Arts - Volume 4, Issue 2 – Pages 123-132 Architecture as Frozen Music: Italy and Russia in the Context of Cultural Relations in the 18th -19th Centuries By Tatiana Samsonova This article deals with the two kinds of art, architecture and music, in their stylistic mutual influence on the historical background of St. Petersburgʼs founding and developing as the new capital of the Russian Empire in the early 18th century. The author highlights the importance of Italian architects and musicians in the formation of modern culture in Russia and shows how the main features of Baroque and Classicism are reflected both in the architecture and music thanks to the influence of the Italian masters. For the first time the issue of the "Russian bel canto" formation resulted from the Italian maestros working in Russia in 18–19 centuries is revealed. Russian-Italian relations originated in the 18th century and covered various cultural phenomena. Their impact is vividly seen in architecture and music in St. Petersburg, which was founded in 1703 by the Russian Emperor Peter the Great whose strong desire was to turn Russia into Europe. As the famous Russian poet Alexander Pushkin wrote in his "The Bronze Horseman" (1834), "the Emperor cut a Europe window." For St. Petersburg construction as a new Russian capital outstanding Italian architects were invited. The first Italian architect, who came to St. Petersburg, was Domenico Trezzini (1670- 1734), a famous European urban designer and engineer. In the period of 1703- 1716 he was the only architect working in St. Petersburg and the Head of City Development Office.
    [Show full text]
  • Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete Works in MP3-Format Details
    Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete works in MP3-Format Details P. I. Tchaikovsky (1840 – 1893) - Sämtliche Werke als MP3 / Complete works - Gesamtspielzeit / Time total 61:20:48 Titel/Title Zeit/Time Titel/Title Zeit/Time 1.Ballett /Ballet 6:13:12 op.20 Schwanensee / Swan Lake 2:26:50 Act 1 0:51:19 1 Scene 0:05:49 6 Pas d'action 0:02:24 2 Valse 0:07:33 7 Sujet 0:02:37 3 Scene 0:03:54 8 Danse des coupes 0:04:12 4 Pas de trois 0:10:24 9 Finale 0:03:31 5 Pas de deux 0:10:55 Act 2 0:33:13 10 Scene 0:03:23 13 Danses des cygnes 0:17:19 11 Scene 0:05:51 14 Scene. Moderato 0:03:11 12 Scene 0:03:29 Act 3 0:44:59 15 Danses de fantailles 0:02:46 20 Danse hongroise. Czardas 0:02:32 16 Danses du corps de ballet et des nains 0:02:24 21 Danse espagnole 0:02:25 17 Scene. Sortie des invites et valse 0:07:54 21a Danse russe 0:04:33 18 Scene 0:01:39 22 Danse napolitaine 0:01:55 19 Pas de six 0:05:46 23 Mazurka 0:04:12 19a Pas de six 0:05:17 24 Scene 0:03:36 Act 4 0:17:19 25 Entr'acte 0:01:53 29 Scene finale 0:09:13 26 Scene. Danses des petits cygnes 0:06:13 Montreal Symphony Orchestra - Charles Dutoit, 1990 op.66 Dornröschen / The Sleeping Beauty 2:18:22 Act 1 1:01:25 1.Introduction 0:02:58 3.
    [Show full text]
  • Elena Obraztsova Mezzo-Soprano
    THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Elena Obraztsova Mezzo-soprano JOHN WUSTMAN, Pianist FRIDAY EVENING, NOVEMBER 20, 1987, AT 8:00 HILL AUDITORIUM, ANN ARBOR, MICHIGAN Songs of Peter Ilyitch Tchaikovsky None but the weary heart, Op. 6, No. 6 It was in the early spring, Op. 38, No. 2 Mid the din of the ball, Op. 38, No. 3 Was I not a little blade of grass? Op. 47, No. 7 Night, Op. 73, No. 2 Gypsy's Song, Op. 60, No. 7 The mild stars shone for us, Op. 60, No. 12 The sun has set, Op. 73, No. 4 Again, as before, alone, Op. 73, No. 6 Does the day reign, Op. 47, No. 6 INTERMISSION Songs of Sergei Rachmaninoff Oh, never sing to me again, Op. 4, No. 4 The soldier's wife, Op. 8, No. 4 Oh, do not grieve, Op. 14, No. 8 Lilacs, Op. 21, No. 5 Oh stay, my love, Op. 4, No. 1 The water lily, Op. 8, No. 1 Beloved, let us fly, Op. 26, No. 5 Christ is risen, Op. 26, No. 6 As fair as day, Op. 14, No. 9 Loneliness, Op. 21, No. 6 The University Musical Society expresses gratitude to Ford Motor Company Fund for underwriting the production and printing costs of this program. Cameras and recording devices arc not allowed in the auditorium. Halls Cough Tablets, courtesy of Warner-Lambert Company, are available in the lobby. Fifteenth Concert of the 109th Season 109th Annual Choral Union Series NOTES AND TRANSLATIONS Peter Ilyitch Tchaikovsky (1840-1893) As a composer, Tchaikovsky stands apart from the distinctive nationalist movement of his "Mighty Five" contemporaries based in St.
    [Show full text]
  • BIO-Kramareva Aug 2020.Pdf
    Oksana Kramareva Soprano Soprano Oksana Kramareva was a prize-winner in several international competitions, including the 2nd prize at Plácido Domingo’s World Opera Competition OPERALIA 2008 in Québec, 1st prize at the International Competition of Alchevsk (2003, Ukraine), 1st prize at the International Competition Solovyini Yarmarok (2004), and 1st prize at the International Elena Obraztsova Competition in St. Petersburg in 2005. She started her opera career as a soloist of Kharkov Opera in Ukraine in 2004 and soon after became a member of the soloist ensemble at the National Opera in Kiev, where she has worked ever since. Her roles have included Tatjana in Eugene Onegin, Lisa in Pique Dame, Leonora in Il Trovatore, the title roles in Aida, Norma and Turandot as well as Yaroslavna in Borodin’s Prince Igor. Guest engagements have taken Oksana around the world, performing roles such as Leonora (Il Trovatore) in Germany, Aida in Spain and Japan in 2006, as well as in 2007 at the Tatarstan National Opera, and Yaroslavna with St. Petersburg Opera on a tour to Japan. In 2008, Oksana appeared in Verdi's Requiem and as Lisa (Pique Dame) at the Mariinsky Theatre in St. Petersburg. The following year, Oksana was invited to sing Aida at the Quebec Opera House in Canada and Amelia (Un ballo in maschera) at the Aalto Opera in Essen in 2010. In January 2012, after her maternity leave, Oksana Kramareva returned to the opera stage in the title role of Puccini's Turandot in Trondheim and, the following year, she toured the Netherlands in the title role of Tosca.
    [Show full text]
  • Tchaikovsky's the Queen of Spades
    Tchaikovsky’s The Queen of Spades - A survey of the major recordings by Ralph Moore The Queen of Spades, alternatively known as Pique Dame is Tchaikovsky’s “other” opera. He considered it to be his best, and in recent years it has been catching up in popularity with the more celebrated Eugene Onegin (another dark Pushkin tale); none of his eight other operas rivals those two - Iolanta and Mazeppa come in at a very distant third. For years I have gone along with the received wisdom that Pique Dame is demonstrably inferior to Eugene Onegin but better acquaintance with Pique Dame has led me to the conclusion that the gap between the two is less than I thought. The fact that it is a grim, sombre tale has not helped its advancement; it hardly makes for a jolly night at the opera. Its action is to some degree realistic but also melodramatic, in that both main characters descend into madness and commit suicide; it is also dependent upon two respectively far-fetched and supernatural elements: the supposed existence of a secret gambling formula and the apparition of the Countess’ ghost to Hermann. As Chekalinsky sceptically remarks, “Se non è vero, è ben trovato!” and those devices propel events entertainingly. The opera is primarily a study in the pernicious effects of greed and obsession and in that regard Hermann is in the same mould as other suicidal or destructive operatic (anti-)heroes, such as Werther, Otello and Heinrich in Tannhäuser. Arguably responsible for the deaths of both Lisa and her elderly guardian grandmother, the Countess, he is certainly unattractive as a personality, yet Tchaikovsky identified closely with him as an outsider and invested heavily in his depiction, giving the music great intensity and completing the whole opera in 44 days.
    [Show full text]
  • Verdi Il Trovatore Mp3, Flac, Wma
    Verdi Il Trovatore mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Il Trovatore Country: Europe Released: 1986 Style: Opera MP3 version RAR size: 1604 mb FLAC version RAR size: 1693 mb WMA version RAR size: 1468 mb Rating: 4.8 Votes: 779 Other Formats: ADX ASF RA MP2 AA DXD MOD Tracklist A1 Akt Nr. 1- Nr. 3 A2 Akt Nr. 4 B Akt Nr. 5 - Nr. 8 C1 Akt Nr. 9 - Nr. 11 C2 Akt Nr. 12 Anfang D Akt Nr. 12 Schluß - Nr. 13 - Nr. 14 - Schluß Companies, etc. Recorded At – Walthamstow Assembly Hall Phonographic Copyright (p) – EMI Records Ltd. Pressed By – EMI Electrola GmbH Printed By – 4P Nicolaus GMBH Credits Baritone Vocals [Il Count Di Luna] – Piero Cappuccilli Bass Vocals [Ferrando] – Ruggero Raimondi Bass Vocals [Un Vecchio Zingaro] – Martin Egel Chorus – Chor der Deutschen Oper Berlin Chorus Master – Walter Hagen-Groll Composed By – Giuseppe Verdi Conductor – Herbert Von Karajan Engineer [Balance] – Wolfgang Gülich Libretto By – Salvatore Cammarano Liner Notes – Julian Budden, Maurice Tassart Liner Notes [Italian Translation] – Franco Sgrignoli Mezzo-soprano Vocals [Azucena] – Elena Obraztsova Mezzo-soprano Vocals [Inez] – Maria Venuti Orchestra – Berliner Philharmoniker Producer – Michel Glotz Soprano Vocals [Leonora] – Leontyne Price Tenor Vocals [Manrico] – Franco Bonisolli Tenor Vocals [Ruiz] – Horst Nitsche Tenor Vocals [Un Messaggero] – Horst Nitsche Notes Issued with 40-page booklet containing liner notes and libretto in English, German, French and Italian Barcode and Other Identifiers Matrix / Runout (Side 1 Runout):
    [Show full text]
  • THE ACADEMY of LYRIC OPERA Who We Are
    Cover «If the Scala is part of the world heritage, Academy is a crucial part of it. It is the best possible investment for the future». Stéphane Lissner, Superintendent of Teatro alla Scala THE ACADEMY OF LYRIC OPERA Who we are The crucial steps of the Theatre’s educational vocation are: 1813 The Ballet School was born. Today it is internationally recognized as one of Whothe bestwe Academiesare for the training of dancers. 1950s Arturo Toscanini founded the School of The Scala Cadets to provide historic continuity to the traditional Italian Lyric Opera. 1970 Tito Varisco, director of stage sets, gave life to the course for set builders and designers , to pass on the excellence found in the creative and manual abilities of Scala artists. Who we are 1991 Accademia del Teatro alla Scala was born as an internal Department of Teatro alla Scala: the Department of Training and Development. Who we are 2001 Accademia was registered as a Foundation, structured in four departments – Music, Ballet, Stage and Workshops, Management – with the following Mission: › Promoting and increasing education, training, retraining and counseling of professional profiles in the field of the performing arts; › Training of artistic and technical staff of Teatro alla Scala; › Offering firsthand contact with the work world, allowing students to acquire “on the job” competences, strengthened by intensive internship experience. List of founders The Academy of Lyric Opera Foto Founded by Riccardo Muti in 1997 under the artistic direction of Leyla Gencer (who passed away in 2008), the Teatro alla Scala Academy of Lyric Opera reflects the heritage of the ‘Scala Cadets’ school, which was created under the auspices of Arturo Toscanini in the fifties to ensure the transmission of traditional Italian opera.
    [Show full text]