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
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)
Gilda (Rigoletto)
Nannetta (Falstaff)
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)
Woodbird (Siegfried)
Sophie (Der Rosenkavalier in concert)
Antonia (Les Contes d’Hoffman)
Mélisande (Pelléas et Mélisande)
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.
