ARTIST OVERVIEW - ARTIST PROFILE

Artist Profile

Yulia Matochkina - Profile picture
© Oksana Ivleva

Mezzo Soprano

Yulia Matochkina

"... the ideal mélange of metal and velvet in her timbre, authentically Italianate in style" - The Opera Critic

Represented by

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

Karina Matveeva
karina@tact4art.com

Representation

General World


  Download Press Kit

Now on - Yulia Matochkina - Back to Overview   BACK TO ARTISTS OVERVIEW
Upcoming Past
Jun 2024
22.
19:00

19:00

Jordi Bernàcer, Conductor
Vera Nemirova, Stage Director

Jun 2024
29.
19:00

19:00

Antonino Fogliani, Conductor
Olivier Py, Stage Director

Jul 2024
2.
19:00

19:00

Antonino Fogliani, Conductor
Olivier Py, Stage Director

SHOW MORE
Show more of Yulias calendar items
Jun 2024
15.
19:00

19:00

Jordi Bernàcer, Conductor
Vera Nemirova, Stage Director

Jun 2024
8.
19:00

19:00

Jordi Bernàcer, Conductor
Vera Nemirova, Stage Director

May 2024
18.
19:00

19:00

Jordi Bernàcer, Conductor
Vera Nemirova, Stage Director

SHOW MORE
Show more of Yulias calendar items

Biography Highlights

 
 

Upcoming

Ulrica Un ballo in maschera, Santuzza Cavalleria rusticana, Carmen, Azucena Il trovatore, Amneris Aida, Ortrud Lohengrin at houses such as Deutsche Oper Berlin, Staatsoper Hamburg, Bayerische Staatsoper München, Opernhaus Zürich, Chicago Lyric Opera, Ópera Las Palmas, and the Royal Opera House. 
23/24 Season: Ortrud Lohengrin Deutsche Oper Berlin, Amneris Aida Tokyo Spring Festival and Deutsche Oper Berlin, Dalila Samson et Dalila Tenerife, Verdi Requiem Opernhaus Zürich, Eboli Don Carlos Semperoper Dresden, Azucena Il trovatore and Venus Tannhäuser Bayerische Staatsoper München.

 
 

Recent

Debuts as Eboli Don Carlo and Azucena Il trovatore at the Royal Opera House, as Ulrica Un ballo in maschera at Spring Festival Tokyo with Mro Muti, as Carmen at Arena di Verona, Verdi’s Requiem at Teatro dell’Opera di Roma, stage version with Dutch National Opera and with Baltimore Symphony Orchestra. Returns to Metropolitan Opera as Eboli Don Carlo and Maddalena Rigoletto, Azucena Il Trovatore at Opernhaus Zürich, Ulrica Un ballo maschera at Teatro alla Scala and with Chicago Symphony Orchestra, Ortrud Lohengrin at Bolshoi Theatre Moscow, Marfa Khovanshchina with Opéra national de Paris, Federica Luisa Miller at Staatsoper Hamburg.

 

 
 

Stage Photos

 

Kundry

Wagner - Parsifal

Kundry

Wagner - Parsifal

Lyubasha

Rimsky-Korsakov - Tsar's Bride

Lyubasha

Rimsky-Korsakov - Tsar's Bride

Princess de Bouillon

Cilea - Adriana Lecouvreur

Princess de Bouillon

Cilea - Adriana Lecouvreur

Je vais mourir ... Adieu, Fière Cite

Les Troyens

Je vais mourir ... Adieu, Fière Cite

Les Troyens

 

Reviews & Press

 
 

Teatro dell'Opera di Roma - Verdi - Requiem - Mezzo Soprano

Magnifica nel velluto dell’emissione e per la padronanza dei suoni agli estremi del suo registro, poi, il mezzosoprano Yulia Matochkina che, da verdiana doc, scontorna un Liber scriptus da manuale per la quota espressiva con cui governa accenti, pause e dinamiche, le sfumature in pianissimo nei salti o l’incedere in crescendo nel doppio puntato, accompagnando ad arte le esplosioni di voce.
 

- Paola De Simone , Paola De Simone

Read this article

Covent Garden - Verdi - Don Carlos - Princess Eboli

Yulia Matochkina made a lively and rather sly Eboli. Matochkina has a finely lithe voice and there was a youthfulness and flexibility to her account of the Veil Song, which 'O don fatale' in Act Four was telling. And throughout she was a lively presence in the drama.
 

- Planet Hugill

Read this article

Wagner - Lohengrin - Ortrud

.. Yulia Matochkina was an Ortrud of white-hot intensity – her invocation of the gods in the second act pinned you to the back of your seat.
 

- Keith McDonnell , Opera + Classical Music Reviews

Read this article

Opera de Tenerife - Saint-Saëns - Samson et Dalila - Dalila

We can say with all conviction that the fact that this performance was in concert version did not detract one iota of emotion or spectacularity from the event. Especially the chemistry between Gyngazov and Matochkina was among the best we have seen and heard in the Auditorium lately. And with the Auditorium its always exquisite choices, that's saying a lot.
Mezzo-soprano Yulia Matochkina portrayed the role of Dalila. With her powerful mezzo-soprano voice she proved that she is one of the best, showing enormous skill both vocally and artistically, that perfectly alowed her to incarnate the complex character of Dalila. Her performance was imposing in every moment that made the audience of the Auditorium in love with her.
 

- Celia García , En Platea

Read this article

Russian mezzo-soprano Yulia Matochkina presented a huge vocal range, remarkable scale, and a variety of colours across the register that allowed her to portray everything from seduction to anger, hate and false despair.
 

- Estrella Ortega , Opera Actual

Read this article

Verdi, G. - Don Carlo - Princess Eboli

the most compelling Eboli the company (Metropolitan Opera) has had in decades
 

- Francisco Salazar , operawire.com

Read this article

Yulia Matochkina was a visually alluring and vocally exciting Princess Eboli. The Russian mezzo-soprano, who made her Met debut in 2022 as Maddalena in Rigoletto, has a powerhouse of a voice.  Its beauty was revealed in her enticing and provocative Veil Song, while the intensity which she brought to “O don fatale’, made the aria the showstopper it should be.
 

- Rick Perdian , newyorkclassicalreview.com

Read this article

Stichting Omroep Muziek - Verdi - Requiem

Yulia Matochkina is een mezzosopraan van Verdiaans formaat, krachtig en voluptueus. 
 

- Jenny Camilleri , de Volkskrant

Read this article

De Russische Yulia Matochkina klonk even majestueus als mysterieus... het androgyne karakter paste perfect bij het quasi-gregoriaanse Agnus Dei.
 

- Martin Toet , Place d'Opera

Read this article

Bizet - Carmen - Carmen

Grandios die russische Mezzosopranistin Yulia Matochkina. Die Stimme der Matochkina trägt nicht nur durch den gewaltigen Raum, sie verzaubert in ihrem tiefen, warmen, geschmeidigen Timbre; präzis und doch sehr menschlich, leidenschaftlich und dann wieder (in der Gebirgs- und in der Schlussszene) von unerbittlicher, steinerner Härte.
 

- Dr. E. Ritterband

Read this article

Teatro alla Scala - Verdi, G. - Un Ballo in Maschera - Ulrica

... while the really difficult role of Ulrica finds in Yulia Matochkina a mezzo-soprano capable of pretending to be a laudably contralto.
 

- Giancarlo Arnaboldi , Connessi all'Opera

Read this article

Yulia Matochkina ha gran voce di timbro seducente, che utilizza senza ostentazione, e delinea una validissima Ulrica. Sfoggia una emissione sul fiato che le consente nell’invocazione, con un opportuno legato, di trasmettere l’ambiguità sfuggente del personaggio, prima con cupa solennità, poi virata in esaltata minaccia, vedi “È lui, è lui!”, con un bel salto d’ottava dal Do grave sotto il rigo al Labemolle acuto. Quindi, senza tentennamenti, la voce si inabissa molto bene in un Sol grave risonante a “Silenzio”, per poi concludere con un La acuto timbrato. Utilizza con fantasia i chiaroscuri necessari a dipingere di fosco mistero “Dalla città all’occaso” e carica di presagi di morte tutto il finale d’atto.
 

- Ugo Malasoma , Opera Click

Read this article

Note positive per la Ulrica di Yulia Matochkina. La voce, dal bel colore scuro, si mostra ben salda, tornita nei centri e naturale nei gravi; particolarmente curato, inoltre, l’accento, sempre sfumato ed incisivo. 
 

- Marco Faverzani; Giorgio Panigati , Opera Libera

Read this article

SHOW MORE
View more of Yulias press articles

Verdi - Un Ballo in Maschera - Ulrica / Madame Arvidson

The lengthy second scene of Act I, located in the “sorceress’s cavern,” is rightly dominated by the figure Ulrica. In this role, Ms. Matochkina’s singing is revelatory: her extensive vocal range is even, vocal projection is disciplined yet varied, and tonal colors suggest an ample spectrum of emotional possibilities. In her introductory evocation, “Re dell’abisso, affrettati” (“King of the depths, make haste”) Matochkina emitted deeply felt low pitches in her call to raise the spirit to assist her visions. In the second part of her aria the fortune-teller’s palpable excitement was evident on the words “E lui, è lui!” (“It is he, it is he!”). Here Matochkina used blazing top notes to celebrate her success before returning to the earlier low pitches while demanding within her cavern “Silenzio!”
In the balance of the scene Ulrica uses her enhanced powers to tell the fortune of or to dispense advice in succession to the fisherman Silvano, to Amelia, wife of Renato, and finally to the nobleman Riccardo. In each instance Matochkina assumed a vocal color appropriate to the nature of her revelation. In promising Silvano gold and position she attempted to reassure his disbelief. In her advice to Amelia to summon courage while plucking the herb of forgetfulness Matochkina seemed to challenge the tentative fears expressed in Ms. El-Khoury’s cautious entrance. Finally, the prediction of Riccardo’s death at the hand of a friend identified by a handshake is unleashed by the seeress with grim finality.
 

- Salvatore Calomino , operatoday.com

Read this article

The role of the mystic Ulrica came into sharp focus with Yulia Matochkina, who sang with commanding intensity and consummate musicianship. Matochkina’s textured voice made Ulrica emerge with striking presence. Her voice was both strong and supple, and the audience showed its appreciation for Matochkina’s effort with spontaneous and well-deserved applause. It was a pleasure to hear this talented singer make her Chicago debut with such a moving performance.
 

- James Zychowicz , Seen and Heard International

Read this article

Enter Ulrica, the fortune teller (in a notably mighty performance by the formidable mezzo-soprano Yulia Matochkina).
 

- Hedy Weiss , wttw

Read this article

SHOW MORE
View more of Yulias press articles

Verdi - Il Trovatore - Azucena

Denn diese Azucena von Yulia Matochkina stellte ein Ereignis der Extraklasse dar, eine stimmliche Urgewalt, riss mit ihren grossen Arien, Erzählungen und Szenen wie Stride la vampa, Giorni poveri videa oder Ai nostri monti ritorneremo restlos mit und löste Beifallsstürme aus. Aber nicht nur in ihren Fortissimo-Ausbrüchen war sie umwerfend, nein sie verfügte auch über eine betörende Piano-Kultur, welche gerade im Schlussbild sehr berührte.
 

- Erstellt von Kaspar Sannemann

Read this article

Matochkina reached similar heights in her portrayal of the Romani woman intent on avenging her mother’s death at the hand of di Luna’s father. She was spellbinding in “Stride la vampa” and in her duet with Manrico, “Ai mostri monti ritorneremo”. In the latter, Matochkina expressed her longing to return to the mountains with a far-away dreamlike simplicity and truly beautiful sound.
 

- Rick Perdian

Read this article

Mariinsky Symphony Orchestra - Berlioz - La Damnation de Faust - Marguerite

Yulia Matochkina fait preuve de brio dans le rôle de Marguerite, mezzo-soprano ample dans les graves et agile dans les aigus, sa voix est claire et timbrée, son chant est distinct. Notamment, elle souligne avec délicatesse l’ « assoupissement » du texte et de la musique à la reprise du thème sus-mentionné, allant jusqu’à chanter les élisions et silences du texte. Par ailleurs, son interprétation de l’aria “D’amour, l’ardente flamme” est impeccable, sa voix est équilibrée et son souffle parfaitement maîtrisé. Particulièrement expressive, dans ses nuances comme dans sa gestuelle, elle émeut et émerveille le public.
 

- Fanny Bousquet , Première Loge

Read this article

die Mezzosopranistin Yulia Matochkina, die mit schönem, rundem Timbre gut mit der Solobratsche und dem Englischhorn in ihren Arien harmoniert...
 

Frankfurter Allgemeine Zeitung

Teatro dell'Opera di Roma - Tchaikovsky - Eugene Onegin - Olga

ottima anche la prestazione nei panni di Olga della connazionale Yulia Matochkina, autentica voce di contralto dalle note gravi potenti e tornite, gradevoli da ascoltare
 

- Michelangelo Pecoraro , Operaclick

Read this article

Münchener Philharmoniker - Wagner - Tristan und Isolde - Brangäne

Yulia Matochkina sang eine Brangäne von stimmschöner Eindringlichkeit und Poesie. Auf ihre sonore Tiefe schloss sich eine prächtige Mittellage an, die in eine leuchtende, glühende und ungemein klangschöne Höhe gipfelte.
 

- Michael Stange , ioco.de

Read this article

Philharmonie de Paris - Wagner - Parsifal - Kundry

Exceptionnelle Kundry de Yulia Matochkina avec Gergiev à Paris.  La distribution vocale est (...) irréprochable, dominée par l’exceptionnelle prestation de Yulia Matochkina dans le rôle de Kundry. Tantôt guerrière, séductrice ou mystique, le timbre est rond, l’émission puissante sans vibrato, les aigus dardés, les graves abyssaux.  
 

- Patrice Imbaud , ResMusica

Read this article

Salzburg Festival - Verdi - Luisa Miller - Federica

Von edlem Glanz und gesanglichem Adel war Yulia Matochkinas Federica, die Herzogin von Ostheim
 

- Stefan Ender , Der Standard

Read this article

Yulia Matochkina als Gräfin Frederica ließ mit einer wunderbaren Mezzostimme aufhorchen.
 

- Marco Stücklin , Das Opernmagazin

Read this article

Yulia Matochkina’s imposing Frederica brought the ideal mélange of metal and velvet in her timbre, authentically Italianate in style, and in fact slightly reminiscent of the young Fiorenza Cossotto - which is a compliment indeed.
 

- Moore Parker , The Opera Critic

Read this article

SHOW MORE
View more of Yulias press articles