Olga Peretyatko made her debut as Magda de Civry in a new production of Puccini’s La rondine at the Teatro Regio Torino
In the year of Giacomo Puccini's centenary, the Teatro Regio Torino presents a new production of La rondine, directed by Pierre-Emmanuel Rousseau, which takes the action back to 1973. The brilliant, ironic and frustrated music of this Puccini gem is entrusted to the skilful hands of maestro Francesco Lanzillotta, a renowned interpreter of 20th century repertoire.
Critics have praised the singer's work:
"Russian soprano Olga Peretyatko returns to the Regio stage after appearing in The Puritans in 2015; possessing good vocals and excellent stage presence, she delivered a well-rounded Magda (a vocally impenetrable role), convincing both vocally and as an actor". Il Corriere Musicale
"Magda di Olga Peretyatko elegantissima nel canto e nel gesto, musicale, ottimamente cantata e interpretata con grande intelligenza". GBOpera
"Splendida Magda interpretata da Olga Peretyatko". Cultura Italia
"Nel cast spicca Olga Peretyatko che si cala a pieno nei tormenti e nelle contraddizioni di Magda". avvenire.it
"Sa Magda prend progressivement de la consistance vocale et dramatique... Mais c'est au moment des doutes et de la rupture, à l'acte Ill, lorsqu'elle est seule avec Ruggero, qu'elle montre une superbe musicalité et atteint les sommets par sa capacité à endosser le personnage avec toute la profondeur et la mélancolie requise". Cult news
Soprano Olga Peretyatko gives a recital at Madrid's Zarzuela Theater. Accompanied by pianist Semyon Skigin, she presented works by Clara Schumann and Pauline Viardot.
From a review by Óscar del Saz for Codalario.com:
"La voz de la Peretyatko es de lírico-ligera, muy bella y cálida, casi mediterránea en la riqueza armónica, a la que se une una excepcional técnica ‘a la antigua’, basada en la profundidad de la respiración y el apoyo, sin utilizar nunca el sobre-apoyo, sin forzar nada en la emisión, todo sobre el aire, consiguiendo un timbre límpido, y muy bien proyectado en cualquier parte de la sala. Su paleta de dinámicas es muy rica, con un canto en piano que resulta exquisito.
También a voz plena, se permite fraseos y legatos que articulan una envidiable línea de canto, que se enriquece por su encomiable dicción. Su técnica vocal también tiene completamente resuelta la zona aguda, con todos los sonidos cubiertos, hermosos y con peso, perfectamente proyectados, donde nada se resiente aun teniendo que cambiar de idioma varias veces (alemán, ruso, francés, italiano)".
Olga makes her role debut as Leonora in Il Trovatore at Musikfest Bremen
A concert version of Verdi's opera Troubadour premiered at the Bremen Music Festival. Conducted by Jérémie Rohrer and his orchestra Le Cercle de l'Harmonie, performing Verdi's score using period instruments. Ivan Magrì performed the role of Manrico and Agnieszka Rehlis appeared as Azucena
"Bleibt noch Olga Peretyatko, die im vergangenen Jahr als Gilda („Rigoletto“) die Herzen des Publikums erobert hatte. Sie debütierte nun als Leonora und begeisterte vor allem im zweiten Teil mit ihrem wundervoll leuchtenden Sopran, den sie gekonnt durch die heiklen Koloraturen führte und mit dem sie immer wieder tolle Pianoklänge formte, manchmal aber auch zu viel Stimme gab". (kreiszeitung.de)
Olga Peretyatko performed the title role in the opera "Adelaide di Borgogna" at the Rossini Opera Festival in Pesaro.
The singer made a triumphant return to the Rossini Festival in Pesaro with a new role in the opera Adelaide di Borgogna.
The production was directed by Arnaud Bernard. He resorts to the already seen many times before technique of "theatre within theatre", where fiction and truth are juxtaposed and confused. The conductor was Francesco Lancillotta.
The critics praised Olga's work:
"Soprano Olga Peretyatko, however, seemed to enjoy the challenge and engaged with the idea to a far greater degree than the other singers. As the “offstage” singer, she raged at the tenor and was attracted by the attentions of the mezzo-soprano who was playing the role of Ottone, but while “onstage,” she played the role as the typical prima donna, or at least she did so at the beginning. As the opera progressed, however, her “onstage” characterization of Adelaide became deeper and more forcefully projected, and the prima donna façade dissolved as her animosity towards the tenor grew, making her anger towards Adelberto more believable. Likewise, as her feelings for the mezzo-soprano increased, her relationship with Ottone intensified.
It was an excellent portrait incorporating emotional extremes that moved from fiery confrontations to deep declarations of love, founded upon her fabulous singing technique. Peretyatko possesses a secure, versatile voice with a beautiful tone, which she is able to imbue with emotional strength. Her duets with both Ottone and Adelberto were splendidly rendered; the former were characterized by outpourings of hope and love, the latter by anger, defiance and rage.
Her Act two scena, in which she sends Ottone to battle and includes the aria “Cingi la candida a benda,” showed off her vocal brilliance and the emotional power she is able to bring to her singing as she unleashed her spectacular coloratura, produced impressive leaps and embellishments, and danced across her upper register, ringing out her top notes with a crystal clarity, while underpinning it with interpretative honesty. It was not a performance of empty showmanship". (OperaWire)
"La protagonista trova in Olga Peretyatko il fascino di un physique du rôle che la fa essere tanto diva capricciosa fuori scena quanto primadonna d’antan sulla scena (si parla sempre dell’impostazione registica di Bernard, ça va sans dire). Con tutto ciò, il soprano russo viene a capo con onore del difficile ruolo, vantando un registro centrale di cremosa consistenza, un pregevole legato e un virtuosismo sicuro in acuto". (Connessi all'Opera)
"Il soprano Olga Peretyatko ha percorso con sapiente adesione stilistica la multiforme parte di Adelaide, proponendone una lettura di grande duttilità espressiva e di fascinosa ricchezza timbrica, sempre cesellando la coloratura con finezza e nettezza, senza mai perdere il controllo del colore". (Le salon musical)
"Per questo risulta ancor più lodevole la prova di Olga Peretyatko, eroina eponima in grado di cesellare un prezioso “Occhi miei piangeste assai” e intonare con fantasia di variazioni e autorevolezza d'accento “Cingi la benda candida” in un continuo movimento fra vita e finzione, persona e personaggio, dietro le quinte e ribalta, gesto quotidiano o esagerato". (L’Ape musicale)
"As Adelaide, Olga Peretyatko, an alumna of the Rossini Academy, alternated between alluring vocal warmth and warrior-like grit in razor-sharp coloratura". (The Financial Times)
"Nel corso degli anni Olga Peretyatko ha ampliato il repertorio con ruoli da drammatico di agilità, da Anna Bolena a Norma fino al prossimo debutto ne Il trovatore, e questo ha sicuramente irrobustito il registro centrale, più ricco di armonici e al servizio di un timbro sempre molto bello nella sua luminosità: questo ha consentito al soprano un’esecuzione non meno che affascinate di “Occhi miei piangeste assai”, per l’appunto tutta giocata in zona centrale e con mezzevoci davvero pregevoli". (OperaClick)
"Als Adelaide brilliert Olga Peretyatko. Ihr steht die armenische Sängerin Varduhi Abrahamyan als Kaiser Otto gegenüber. Bei aller komödiantischen Spielfreude der Inszenierung vermag Peretyatko dennoch plötzlich ihren stillen Sehnsuchtsarien Tiefe zu verleihen". (Tagesspiegel)
"Il pubblico festeggia a lungo anche il terzetto vocale dei protagonisti: il soprano Olga Peretyatko (Adelaide), il contralto Varduhi Abrahamyan (Ottone) e il tenore René Barbera (Adelberto). La prima si disimpegna molto bene tanto nell’aria di elegiaca speranza del I atto quanto nella scena di incitamento alla battaglia del II (pregevoli gli abbellimenti nella cabaletta con clarinetto obbligato, «Cingi la benda candida»". (GBOpera)
They are musical moments that are remembered. In recent years, Olga Peretyatko's agile soprano voice has gained in suppleness and lush depth, so that as Lieladie she can present the whole spectrum of emotions in modelled lines.
By the way she's editing this page herself!