Lyudmila Monastyrskaya |

Lyudmila Monastyrskaya

Lyudmila Monastyrskaya is a soloist of the National Opera of Ukraine. She graduated from the Kyiv School of Music and the National Academy of Music (teachers – Ivan Ignatievich Palivoda and Diana Ignatievna Petrenenko).

In 1997, Lyudmila Monastyrskaya won the vocal competition named after. N. Lysenko. After this vocal competition, she was invited to work in the troupe of the National Opera of Ukraine. But for various reasons of a family nature, until 2008, the singer did not perform on the Kyiv stage … And now, for three years, the name of Lyudmila Monastyrskaya has become the hallmark of the Kyiv Opera.

On the stage of this theater, she performed in such complex and vivid roles as Aida in the opera of the same name by G. Verdi, Santuzza in P. Mascagni’s Rural Honor, Lisa in P. Tchaikovsky’s The Queen of Spades, Amelia in Ball in Masquerade.

Ludmila Monastyrskaya gained international fame in February of this year after her sensational debut in Aida at London’s Coven Garden: she jumped into this production just a few days before the premiere! Then, on the same stage, she appeared in the role of Verdi’s Lady Macbeth. Last year she performed as Puccini’s Tosca on the stage of the Berlin Deutsche Oper and at the Torre del Lago festival.

Among her future engagements are again performances at Coven Garden (Nabucco, Un ballo in maschera, Rustic Honor) and at the Deutsche Oper (Macbeth, Tosca, Attila), and also debuts in other theaters – Milan’s La Scala (Aida and Nabucco), the New York Metropolitan Opera (Aida and Rural Honor) and the Reina Sofia Palace of the Arts in Valencia (The Sid) Massenet with conductor Placido Domingo).

Luxurious, huge, incredible in strength and brightness, Monastyrskaya’s voice made me remember the best times of opera, when big, beautiful and at the same time technical voices were not something out of the ordinary. Monastyrskaya’s vocals are a real national treasure of Ukraine. Nature generously endowed the singer, but the singer added everything in a serious way to this – fundamental breathing, melting pianissimi, absolute register evenness and the same absolute tessitura freedom, masterful acoustic projection of sound on the hall and, finally, an emotional message penetrating the soul. (A. Matusevich. OperaNews.ru, 2011)

In the photo: L. Monastyrskaya as Lady Macbeth on the stage of Covent Garden