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Svetlana Sozdateleva - Profile picture
© Emil Matveev

Soprano

Svetlana Sozdateleva

"…a dramatic soprano of striking stage presence, with exactly the “searing glance” needed for the supernatural Valkyrie."
- The Arts Desk

Represented by

Alex Grigorev
alex@tact4art.com
+31 647 900 647

Ivana Tanovitski
ivana@tact4art.com
+385917817833

Representation

General World


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Upcoming Past
Apr 2024
27.
15:00

15:00

Vladimir Jurowski, Conductor

Jun 2024
6.
19:00

19:00

Filipp Selivanov, Conductor
Dmitry Bertman, Stage Director

Jun 2024
8.
19:00

19:00

Filipp Selivanov, Conductor
Dmitry Bertman, Stage Director

Feb 2024
4.
19:00

19:00

Valery Kirjanov, Conductor
Dmitry Bertman, Stage Director

Feb 2024
2.
19:00

19:00

Valery Kirjanov, Conductor
Dmitry Bertman, Stage Director

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Biography Highlights

 
 

Upcoming Performances

Katerina Lady Macbeth of Mtsensk with Greek National Opera and New National Theatre Tokyo, Brünnhilde Götterdämmerung with London Philharmonic Orchestra, Santuzza Cavalleria rusticana, Emilia Marty The Makropulos Affair, Madame Lidoine Dialogues des carmélites with Helikon Opera Moscow.

 
 

Recent Engagements

Katerina Lady Macbeth of Mtsensk with Metropolitan Opera, and as Fata Morgana L’amour des trois oranges at Staatsoper Stuttgart, Brünnhilde Götterdämmerung, Brünnhilde Die Walküre, Madame Lidoine Dialogues des carmélites, Anna Die 7 Todsünden, Ekaterina II Tsarina with London Philharmonic Orchestra, Deutsche Oper Berlin, Komische Oper Berlin, Finnish National Opera, Moscow State Symphony Orchestra and Norwegian National Opera, Renata The Fiery Angel at Bayerische Staatsoper, Deutsche Oper am Rhein,Scottish Opera Glasgow, La Monnaie Brussels, Polish National Opera. Lady Macbeth in Verdi’s Macbeth and Kostelnička in Janáček's Jenůfa at Glyndebourne festival.  

 

 
 

 
 

Portraits

Svetlana Sozdateleva
© Emil Matveev

The Fiery Angel

Bayerische Staatsoper

The Fiery Angel

Bayerische Staatsoper

Lady Macbeth of Mtsensk

Greek National Opera "... a compelling Katerina Izmailova" - Athens Voice

Lady Macbeth of Mtsensk

Greek National Opera "... a compelling Katerina Izmailova" - Athens Voice

Discography

Svetlana in Prokofiev: The Fiery Angel

Prokofiev: The Fiery Angel

THE FIERY ANGEL 2015, MUNICH SD (DVD) Bayerische staatsoper, Munich, December 12, 2015

 

Reviews & Press

 
 

Shostakovich- Lady Macbeth of Mtsensk - Katerina Lvovna Izmailova

Starting with the protagonist Svetlana Sozdateleva, whom we had heard at the premiere of the play four years ago and since then she has deepened even more into the tragic heroine, the role of Katerina suits her vocally. The volume of her voice and her excellent technique allow her to face the huge and often terribly loud orchestra fearlessly (only on one or two high notes did she sound a little shrill) and to support the lower range of the voice perfectly in the pensive monologues. In the final scene, on the road to Siberia, she captivated with both her singing and her acting, a worthy top singer-actress.
 

- kathimerini.gr

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Dynamic, beautiful, with excellent technique and a strong, bright, well-focused voice, precise and effortless singing, the blossoming Russian soprano Svetlana Sozdateleva was a convincing Katerina.
 

- John Svolos , efsyn.gr

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Shostakovich, D. - Lady Macbeth of Mtsensk - Katerina Lvovna Izmailova

Sozdateleva navigated the score’s jagged edges and melodic hairpin turns with ease — but not so much that her Katerina Ismailova ever looked satisfied with her steadily diminishing lot in life.
 

- Michael Andor Brodeur , Washington post

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Sozdateleva portrays the glamorous gluttony that is Katerina exceedingly well. A repressed and all too powerful female, ready to burst at any moment. Her voice stews and carefully calculates, simply biding time. One can sense this role is made for her. She is the gatekeeper who knows exactly how to tell this story. Audience members could not take their eyes off her. She also had a special connection throughout the opera with Wilson. The two women were an extremely powerful combination. History being made!
 

- Jennifer Pyron , Operawire

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But the opera is dominated by Katerina, its scheming Lady Macbeth. In an excellent Met debut, the soprano Svetlana Sozdateleva is seen-it-all yet soulful, and often magnetically still, as if dazed by the world veering around her. Her voice becomes strident and slicing as it rises in pitch and intensity, but it’s never ugly. When Sergei first seduces Katerina and she limply resists, singing, “I’m a married woman,” Sozdateleva conveys the line’s strange cool tenderness; it’s not sincere, but it’s not a joke.
 

- Zachary Woolfe , The New York Times

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Stadttheater Klagenfurt - Shostakovih - Lady Macbeth of Mtzensk

Uneingeschränkt glücklich wird man diesmal auch mit dem Sängerensemble: Svetlana Sozdateleva verausgabt sich darstellerisch und stimmlich bis an ihre Grenzen. Sie ist eine ungemein facettenreiche Katerina Ismailowa, von unbefriedigt über lasziv bis exzessiv.
 

Berlin Komische Oper - Prokofiev - The Love for Three Oranges - Fata Morgana

Fata Morgana was played by soprano Svetlana Sozdateleva; she sang well and was a good comedian. 
 

- José M. Irurzun , Seen and Heard International

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London Philharmonic Orchestra - Wagner - Die Walküre - Brünnhilde

…a dramatic soprano of striking stage presence, with exactly the “searing glance” needed for the supernatural Valkyrie, Svetlana Sozdateleva, to give of her vocal and dramatic best. 
 

- David Nice , The Arts Desk

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Svetlana Sozdateleva was the tireless, metallic-sounding Brünnhilde
 

- Tim Ashley , The Guardian

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Svetlana Sozdateleva was an excellent Brünnhilde, both commanding and vulnerable.
 

The Telegraph

Greek National Opera - Shostakovich - Lady Macbeth of Mtzensk - Katerina Lvovna Izmailova

The impressive Russian soprano Svetlana Sozdateleva, the Lady Macbeth of the title, created a compelling Katerina Ismailova, full of passion and urges, ready to do everything -even murder- and to accept the consequences, to free herself and live love. Following her movement and listening to her robust, shinning voice, we felt her inner struggle, the boredom next to her boring husband, the hatred for the tyrannous lustful father-in-law, the desire and jealousy for Sergei. She became the anti-hero that forces you to like her, even to give reason to her actions, exactly like Shostakovich would have liked.
 

- Λένα Ιωαννίδου , Athens Voice

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The experienced, spirited Russian soprano Svetlana Sozdateleva was a perfect Katerina: young, beautiful, with excellent technique and strong luminous, well-focused, precise voice.
 

- Γιάννης Σβώλος , Efsyn.gr

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Stage Highlights

At a glance: Svetlana Sozdateleva: news & press