\u041f\u0440\u0435\u0441\u0441\u0430<\/h1>\n<\/div><\/div><\/div>\n\n\n\n 2023<\/a>2019<\/a>2018<\/a>2017<\/a>2016<\/a>2015<\/a>2014<\/a>2013<\/a>2011<\/a><\/div>klassic.com<\/a><\/div><\/div><\/div>Flawless Performance in Dual Roles of Mother Maria and Lyubov<\/h4><\/a><\/div>
The review highlights Oksana Volkova\u2019s \u201cflawless performance\u201d in the demanding roles of Mother Maria and Kochubei\u2019s wife (Lyubov). The critic praises her for a passionate and expressive dramatic delivery, emphasizing her strong stage presence and the emotional depth she brings to each character. Volkova\u2019s vocal control and ability to convey complex emotions were noted as key strengths that significantly contributed to the overall impact of the performance.\r\n\r\n<\/p>
June 18, 2023<\/div>Kurt Witterst\u00e4tter<\/a><\/div><\/div><\/div><\/div><\/div><\/div>SN.at<\/div><\/div><\/div>Fiery and Dynamic Portrayal of Princess Eboli<\/h4><\/div>
In a gripping, chamber-style production of Don Carlo at Oper Graz, Oksana Volkova delivered a fiery portrayal of Princess Eboli. The review commends her for bringing vitality and dramatic intensity to the role, characterized by her temperamental presence and rich, dark-toned mezzo-soprano\u2014especially during her emotive entrance aria.<\/p>
September\u00a029,\u00a02019 <\/div>APA (Austrian Press Agency)<\/div><\/div><\/div><\/div>Bachtrack<\/a><\/div><\/div><\/div>A Spirited and Commanding Eboli in Don Carlo<\/h4><\/a><\/div>
In a review of Don Carlo at Oper Graz, Oksana Volkova was praised for her captivating portrayal of Princess Eboli. The critic noted her youthful energy and vitality, which brought freshness to the role. Her performance of the Veil Song was full of spirit, and in O don fatale she impressed with a rich, dark mezzo, powerful high notes, and precise dramatic attack \u2014 earning enthusiastic applause from the audience.<\/p>
September 16, 2019<\/div>Peter Sommeregger<\/a><\/div><\/div><\/div><\/div>Hudson-Housatonic Arts<\/a><\/div><\/div><\/div>Die Walk\u00fcre & Verdi\u2019s Requiem \u2014 Nelsons at Tanglewood<\/h4><\/a><\/div>
The Hudson Housatonic Arts review covers Wagner\u2019s Die Walk\u00fcre and Verdi\u2019s Requiem conducted by Andris Nelsons at Tanglewood. Oksana Volkova is featured for her performance in Verdi\u2019s Requiem, alongside soprano Kristine Opolais and the Boston Symphony Orchestra under Nelsons\u2019 baton.\r\n\r\n<\/p>
27 July 2019<\/div>Michael Miller<\/a><\/div><\/div><\/div><\/div><\/div><\/div>Wanderer<\/a><\/div><\/div><\/div>La Dame de pique, Salzburg Festspiele<\/h4><\/a><\/div>
La Polina d\u2019Oksana Volkova est assez s\u00e9duisante ; son duo avec Lisa (\u00ab \u0423\u0436 \u0432\u0435\u0447\u0435\u0440 \u00bb c\u2019est le soir) et sa romance \u00ab \u041f\u043e\u0434\u0440\u0443\u0433\u0438 \u043c\u0438\u043b\u044b\u0435 \u00bb (mes ch\u00e8res amies) sont ex\u00e9cut\u00e9s avec \u00e9l\u00e9gance, le chant est bien contr\u00f4l\u00e9, bien projet\u00e9…<\/p>
26 \u0430\u0432\u0433\u0443\u0441\u0442\u0430 2018<\/div>Guy Cherqui<\/a><\/div><\/div><\/div><\/div>\u0411\u0435\u043b\u044c\u043a\u0430\u043d\u0442\u043e<\/a><\/div><\/div><\/div>\u00ab\u041f\u0438\u043a\u043e\u0432\u0430\u044f \u0434\u0430\u043c\u0430\u00bb \u0427\u0430\u0439\u043a\u043e\u0432\u0441\u043a\u043e\u0433\u043e \u043d\u0430 \u0417\u0430\u043b\u044c\u0446\u0431\u0443\u0440\u0433\u0441\u043a\u043e\u043c \u0444\u0435\u0441\u0442\u0438\u0432\u0430\u043b\u0435<\/h4><\/a><\/div>
\u041f\u0435\u0432\u0438\u0446\u0430 \u0438\u0433\u0440\u0430\u0435\u0442 \u043d\u0435 \u0441\u0442\u043e\u043b\u044c\u043a\u043e \u043f\u043e\u0434\u0440\u0443\u0433\u0443 \u041b\u0438\u0437\u044b, \u0441\u043a\u043e\u043b\u044c\u043a\u043e \u0435\u0451 \u0447\u0451\u0440\u043d\u043e\u0433\u043e \u0434\u0432\u043e\u0439\u043d\u0438\u043a\u0430 (\u044d\u0442\u043e \u0436\u0435 \u043f\u043e\u0434\u0447\u0451\u0440\u043a\u0438\u0432\u0430\u0435\u0442\u0441\u044f \u0438 \u0435\u0451 \u043d\u0435\u043e\u0436\u0438\u0434\u0430\u043d\u043d\u044b\u043c \u043c\u0443\u0436\u0441\u043a\u0438\u043c \u043d\u0430\u0440\u044f\u0434\u043e\u043c). \u0426\u0435\u043d\u043d\u043e\u0441\u0442\u044c \u044d\u0442\u043e\u0433\u043e \u043f\u0440\u043e\u0447\u0442\u0435\u043d\u0438\u044f \u043d\u0435 \u0442\u043e\u043b\u044c\u043a\u043e \u0432 \u0434\u0440\u0430\u043c\u0430\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u0441\u0438\u043b\u0435 \u043f\u043e\u0434\u0430\u0447\u0438: \u041f\u043e\u043b\u0438\u043d\u0430 \u0443 \u041e. \u0412\u043e\u043b\u043a\u043e\u0432\u043e\u0439 \u0434\u0435\u043b\u0430\u0435\u0442 \u0438\u0437 \u044d\u0442\u043e\u0433\u043e \u0440\u043e\u043c\u0430\u043d\u0441\u0430 \u043c\u0438\u043d\u0438\u0441\u043f\u0435\u043a\u0442\u0430\u043a\u043b\u044c, \u0442\u043e \u043b\u0438 \u043f\u0440\u0435\u0434\u0443\u043f\u0440\u0435\u0436\u0434\u0430\u044f, \u0442\u043e \u043b\u0438 \u043f\u0440\u043e\u0432\u043e\u0446\u0438\u0440\u0443\u044f \u041b\u0438\u0437\u0443.<\/p>
14 \u0430\u0432\u0433\u0443\u0441\u0442\u0430 2018<\/div>\u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u041a\u0443\u043c\u0430\u0447\u0435\u0432 <\/a><\/div><\/div><\/div><\/div>Olyrix<\/a><\/div><\/div><\/div>Cavalleria rusticana et Paillasse \u00e0 Gen\u00e8ve<\/h4><\/a><\/div>
Avec une voix puissante et dramatique, Oksana Volkova est une Santuzza convaincante. La beaut\u00e9 de son timbre enchante les passages les plus dramatiques (“Io piango”, admirablement tenu), alors que son sens des nuances est contr\u00f4l\u00e9 (\u00ab Je suis damn\u00e9e \u00bb, chant\u00e9 fortissimo tr\u00e8s timbr\u00e9 puis mezzo-piano d\u2019une voix lisse).<\/p>
20 \u043c\u0430\u0440\u0442\u0430 2018<\/div>Nicolas Mathieu<\/a><\/div><\/div><\/div><\/div>Anaclase<\/a><\/div><\/div><\/div>Chevalerie rustique, op\u00e9ra de Pietro Mascagni<\/h4><\/a><\/div>
Oksana Volkova incarne une Santuzza \u00e0 la couleur aussi focalis\u00e9e que la ligne. Sa retenue souligne admirablement la jalousie qui la torture, sans la livrer \u00e0 une hyst\u00e9rie vocale qui serait dommageable.<\/p>
19 \u043c\u0430\u0440\u0442\u0430 2018<\/div>GC<\/a><\/div><\/div><\/div><\/div><\/div><\/div>Opera Wire<\/a><\/div><\/div><\/div>Rigoletto CD Review<\/h4><\/a><\/div>
As Maddalena, Oksana Volkova brings vocal allure, making her both a match and contrast for Mastroni\u2019s suave but brusque Sparafucile.<\/p>
\u0414\u0435\u043a\u0430\u0431\u0440\u044c 2017<\/div>David Salazar<\/a><\/div><\/div><\/div><\/div>Opera News<\/a><\/div><\/div><\/div>Verdi Rigoletto with Dmitri Hvorostovsky, CD review<\/h4><\/a><\/div>
Oksana Volkova\u2019s ripe mezzo makes her Maddalena aurally embody carnality.<\/p>
\u0414\u0435\u043a\u0430\u0431\u0440\u044c 2017<\/div>Fred Cohn<\/a><\/div><\/div><\/div><\/div>![](\"https:\/\/oksanavolkova.by\/wp-content\/uploads\/2019\/03\/Met_The-Tales-of-Hoffmann2-683x1024.jpeg\")
<\/div>New York Classical Review<\/a><\/div><\/div><\/div>Met gets new season on track with a worthy, well-sung \u201cHoffmann\u201d<\/h4><\/a><\/div>
…Hoffmann\u2019s third lover, Giulietta, has little chance to shine outside of the Barcarolle at the top of her act, but Oksana Volkova made the most of the role with her firm, dark soprano. <\/p>
27 \u0441\u0435\u043d\u0442\u044f\u0431\u0440\u044f 2017<\/div>Eric C. Simpson<\/a><\/div><\/div><\/div><\/div>![](\"https:\/\/oksanavolkova.by\/wp-content\/uploads\/2019\/03\/Met-Rigoletto-photo-by-Ken-Howard-683x1024.jpg\")
<\/div>Bachtrack<\/a><\/div>\u2605<\/span>\u2605<\/span>\u2605<\/span>\u2605<\/span>\u2605<\/span><\/div><\/div>The Met hits the jackpot with revival of its Vegas Rigoletto<\/h4><\/a><\/div>
This is followed by the entrance of Sparafucile\u2019s sister, Maddalena, played by Oksana Volkova, who played the role with flirtatiousness, performing a pole dance and singing her role with a delightful richness of tone. She was also highly pleasing in the quartet with the Duke, Gilda and Rigoletto, the aural highlight of the evening. <\/p>
23 \u044f\u043d\u0432\u0430\u0440\u044f 2017<\/div>Von Oliver Brett<\/a><\/div><\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/oksanavolkova.by\/wp-content\/uploads\/2019\/03\/Carmen-Bolshoi-Jose-Brian-Jagde_photo_Damir-Usupov-683x1024.jpg\")
<\/div>Times of Malta<\/a><\/div><\/div><\/div>Sexy, fiery, superb Carmen<\/h4><\/a><\/div>
Oksana Volkova\u2019s Carmen at the Aurora Opera House was the best I have seen since Christa Ludwig\u2019s to Domingo\u2019s Jos\u00e9 in Vienna some 40 years ago. She has it all: an absolute command of the stage, a richly seductive and polychromatic voice, her sinuous and voluptuous physique yet never vulgar mien, the never-changing fiery, free spirit which underlines the role, evident when she emerged from the cigarette factory. It was a superbly unforgettable experience which will be regretted no end by those who missed it. The audience was hers from the start.\r\n\r\n<\/p>
27 \u043d\u043e\u044f\u0431\u0440\u044f<\/div>Albert Storace<\/a><\/div><\/div><\/div><\/div>Planet Hugill<\/a><\/div><\/div><\/div>In the memory palace – Eugene Onegin at Covent Garden<\/h4><\/a><\/div>
Oksana Volkova was a dark voiced, yet lively Olga, clearly very much a party animal.<\/p>
04 \u044f\u043d\u0432\u0430\u0440\u044f<\/div>Robert Hugill<\/a><\/div><\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/oksanavolkova.by\/wp-content\/uploads\/2019\/03\/\u041e\u043d\u0435\u0433\u0438\u043d-\u041a\u043e\u0432\u0435\u043d\u0442-\u0413\u0430\u0440\u0434\u0435\u043d-684x1024.jpg\")
<\/div>Music OMH<\/a><\/div>\u2605<\/span>\u2605<\/span>\u2605<\/span>\u2605<\/span>\u2605<\/span><\/div><\/div>Eugene Onegin @ Royal Opera House, London<\/h4><\/a><\/div>
Oksana Volkova also makes her ROH debut as Olga, and her mezzo-soprano proves rich and full. <\/p>
Flawless Performance in Dual Roles of Mother Maria and Lyubov<\/h4><\/a><\/div>
The review highlights Oksana Volkova\u2019s \u201cflawless performance\u201d in the demanding roles of Mother Maria and Kochubei\u2019s wife (Lyubov). The critic praises her for a passionate and expressive dramatic delivery, emphasizing her strong stage presence and the emotional depth she brings to each character. Volkova\u2019s vocal control and ability to convey complex emotions were noted as key strengths that significantly contributed to the overall impact of the performance.\r\n\r\n<\/p>
Fiery and Dynamic Portrayal of Princess Eboli<\/h4><\/div>
In a gripping, chamber-style production of Don Carlo at Oper Graz, Oksana Volkova delivered a fiery portrayal of Princess Eboli. The review commends her for bringing vitality and dramatic intensity to the role, characterized by her temperamental presence and rich, dark-toned mezzo-soprano\u2014especially during her emotive entrance aria.<\/p>
A Spirited and Commanding Eboli in Don Carlo<\/h4><\/a><\/div>
In a review of Don Carlo at Oper Graz, Oksana Volkova was praised for her captivating portrayal of Princess Eboli. The critic noted her youthful energy and vitality, which brought freshness to the role. Her performance of the Veil Song was full of spirit, and in O don fatale she impressed with a rich, dark mezzo, powerful high notes, and precise dramatic attack \u2014 earning enthusiastic applause from the audience.<\/p>
Die Walk\u00fcre & Verdi\u2019s Requiem \u2014 Nelsons at Tanglewood<\/h4><\/a><\/div>
The Hudson Housatonic Arts review covers Wagner\u2019s Die Walk\u00fcre and Verdi\u2019s Requiem conducted by Andris Nelsons at Tanglewood. Oksana Volkova is featured for her performance in Verdi\u2019s Requiem, alongside soprano Kristine Opolais and the Boston Symphony Orchestra under Nelsons\u2019 baton.\r\n\r\n<\/p>
La Dame de pique, Salzburg Festspiele<\/h4><\/a><\/div>
La Polina d\u2019Oksana Volkova est assez s\u00e9duisante ; son duo avec Lisa (\u00ab \u0423\u0436 \u0432\u0435\u0447\u0435\u0440 \u00bb c\u2019est le soir) et sa romance \u00ab \u041f\u043e\u0434\u0440\u0443\u0433\u0438 \u043c\u0438\u043b\u044b\u0435 \u00bb (mes ch\u00e8res amies) sont ex\u00e9cut\u00e9s avec \u00e9l\u00e9gance, le chant est bien contr\u00f4l\u00e9, bien projet\u00e9…<\/p>
\u00ab\u041f\u0438\u043a\u043e\u0432\u0430\u044f \u0434\u0430\u043c\u0430\u00bb \u0427\u0430\u0439\u043a\u043e\u0432\u0441\u043a\u043e\u0433\u043e \u043d\u0430 \u0417\u0430\u043b\u044c\u0446\u0431\u0443\u0440\u0433\u0441\u043a\u043e\u043c \u0444\u0435\u0441\u0442\u0438\u0432\u0430\u043b\u0435<\/h4><\/a><\/div>
\u041f\u0435\u0432\u0438\u0446\u0430 \u0438\u0433\u0440\u0430\u0435\u0442 \u043d\u0435 \u0441\u0442\u043e\u043b\u044c\u043a\u043e \u043f\u043e\u0434\u0440\u0443\u0433\u0443 \u041b\u0438\u0437\u044b, \u0441\u043a\u043e\u043b\u044c\u043a\u043e \u0435\u0451 \u0447\u0451\u0440\u043d\u043e\u0433\u043e \u0434\u0432\u043e\u0439\u043d\u0438\u043a\u0430 (\u044d\u0442\u043e \u0436\u0435 \u043f\u043e\u0434\u0447\u0451\u0440\u043a\u0438\u0432\u0430\u0435\u0442\u0441\u044f \u0438 \u0435\u0451 \u043d\u0435\u043e\u0436\u0438\u0434\u0430\u043d\u043d\u044b\u043c \u043c\u0443\u0436\u0441\u043a\u0438\u043c \u043d\u0430\u0440\u044f\u0434\u043e\u043c). \u0426\u0435\u043d\u043d\u043e\u0441\u0442\u044c \u044d\u0442\u043e\u0433\u043e \u043f\u0440\u043e\u0447\u0442\u0435\u043d\u0438\u044f \u043d\u0435 \u0442\u043e\u043b\u044c\u043a\u043e \u0432 \u0434\u0440\u0430\u043c\u0430\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u0441\u0438\u043b\u0435 \u043f\u043e\u0434\u0430\u0447\u0438: \u041f\u043e\u043b\u0438\u043d\u0430 \u0443 \u041e. \u0412\u043e\u043b\u043a\u043e\u0432\u043e\u0439 \u0434\u0435\u043b\u0430\u0435\u0442 \u0438\u0437 \u044d\u0442\u043e\u0433\u043e \u0440\u043e\u043c\u0430\u043d\u0441\u0430 \u043c\u0438\u043d\u0438\u0441\u043f\u0435\u043a\u0442\u0430\u043a\u043b\u044c, \u0442\u043e \u043b\u0438 \u043f\u0440\u0435\u0434\u0443\u043f\u0440\u0435\u0436\u0434\u0430\u044f, \u0442\u043e \u043b\u0438 \u043f\u0440\u043e\u0432\u043e\u0446\u0438\u0440\u0443\u044f \u041b\u0438\u0437\u0443.<\/p>
Cavalleria rusticana et Paillasse \u00e0 Gen\u00e8ve<\/h4><\/a><\/div>
Avec une voix puissante et dramatique, Oksana Volkova est une Santuzza convaincante. La beaut\u00e9 de son timbre enchante les passages les plus dramatiques (“Io piango”, admirablement tenu), alors que son sens des nuances est contr\u00f4l\u00e9 (\u00ab Je suis damn\u00e9e \u00bb, chant\u00e9 fortissimo tr\u00e8s timbr\u00e9 puis mezzo-piano d\u2019une voix lisse).<\/p>
Chevalerie rustique, op\u00e9ra de Pietro Mascagni<\/h4><\/a><\/div>
Oksana Volkova incarne une Santuzza \u00e0 la couleur aussi focalis\u00e9e que la ligne. Sa retenue souligne admirablement la jalousie qui la torture, sans la livrer \u00e0 une hyst\u00e9rie vocale qui serait dommageable.<\/p>
Rigoletto CD Review<\/h4><\/a><\/div>
As Maddalena, Oksana Volkova brings vocal allure, making her both a match and contrast for Mastroni\u2019s suave but brusque Sparafucile.<\/p>
Verdi Rigoletto with Dmitri Hvorostovsky, CD review<\/h4><\/a><\/div>
Oksana Volkova\u2019s ripe mezzo makes her Maddalena aurally embody carnality.<\/p>
<\/div>Met gets new season on track with a worthy, well-sung \u201cHoffmann\u201d<\/h4><\/a><\/div>
…Hoffmann\u2019s third lover, Giulietta, has little chance to shine outside of the Barcarolle at the top of her act, but Oksana Volkova made the most of the role with her firm, dark soprano. <\/p>
<\/div>The Met hits the jackpot with revival of its Vegas Rigoletto<\/h4><\/a><\/div>
This is followed by the entrance of Sparafucile\u2019s sister, Maddalena, played by Oksana Volkova, who played the role with flirtatiousness, performing a pole dance and singing her role with a delightful richness of tone. She was also highly pleasing in the quartet with the Duke, Gilda and Rigoletto, the aural highlight of the evening. <\/p>
<\/div>Sexy, fiery, superb Carmen<\/h4><\/a><\/div>
Oksana Volkova\u2019s Carmen at the Aurora Opera House was the best I have seen since Christa Ludwig\u2019s to Domingo\u2019s Jos\u00e9 in Vienna some 40 years ago. She has it all: an absolute command of the stage, a richly seductive and polychromatic voice, her sinuous and voluptuous physique yet never vulgar mien, the never-changing fiery, free spirit which underlines the role, evident when she emerged from the cigarette factory. It was a superbly unforgettable experience which will be regretted no end by those who missed it. The audience was hers from the start.\r\n\r\n<\/p>
In the memory palace – Eugene Onegin at Covent Garden<\/h4><\/a><\/div>
Oksana Volkova was a dark voiced, yet lively Olga, clearly very much a party animal.<\/p>
<\/div>Eugene Onegin @ Royal Opera House, London<\/h4><\/a><\/div>
Oksana Volkova also makes her ROH debut as Olga, and her mezzo-soprano proves rich and full. <\/p>
![](\"https:\/\/oksanavolkova.by\/wp-content\/uploads\/2019\/03\/\u00a9BC20151216_EugeneOnegin_0579-665x1024.jpg\")
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