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)
Interview for Gramilano portal
When did you start singing?
My father is an opera singer – he still sings in the chorus – so when I was a little, I was always in the theatre! My first solo performance was at home on a chair with my family as the audience when I was three!
Why did you start singing?
I just could not be silent! Singing was my way of communicating!
Which singer inspired you most when you were young?
Joan Sutherland was my idol when I started!
Which singer do you most admire?
They are a lot! Even now I observe all my colleagues on stage – there is always something to learn from everybody!
What's your favourite role?
Now my favourite role is Adelaide from Adelaide in Borgogna by Rossini because I am singing it now.
What role have you never played but would have liked to?
Carmen.
What's your favourite opera to watch?
La Bohème.
Who is your favourite composer?
Verdi.
Who is your favourite writer?
Stephen Hawking; Stefan Zweig.
Who is your favourite theatre or film director?
Federico Fellini.
Who is your favourite actor?
Edward Norton.
Who is your favourite dancer?
Baryshnikov.
What is your favourite book?
The World of Yesterday by Stefan Zweig.
What is your favourite film?
Fight Club.
Which is your favourite city?
Lucerne.
What do you like most about yourself?
The ability to concentrate at important moments.
What do you dislike about yourself?
Self-blame.
What was your proudest moment?
There are a lot of moments where I was proud of myself.
When and where were you happiest?
I try to be happy in every moment! Now, the biggest happiness is when my daughter Maya smiles.
What or who is the greatest love of your life?
Maya, my little wonder!
What is your greatest fear?
I'm afraid that I won't have enough time to see everything in the world.
If you could change one thing about yourself, what would it be?
I would like to understand earlier what makes me happy.
What do you consider your greatest achievement?
To be myself.
What is your most treasured possession?
My daughter.
What is your greatest extravagance?
My style of living.
What do you consider the most overrated virtue?
Patience.
On what occasion do you lie?
Now never. Being honest is the way to happiness, even if it's hard sometimes.
If you hadn't been a singer, what would you have liked to be?
A doctor.
What is your most marked characteristic?
Purposefulness and awareness.
What quality do you most value in a friend?
Honesty.
What quality do you most value in a colleague?
Professionalism and ability to enjoy the process.
Which historical figure do you most admire?
Che Guevara.
Which living person do you most admire?
My mom.
What do you most dislike?
Hypocrisy.
What talent would you most like to have?
To immediately memorise the names of all the people I meet.
What's your idea of perfect happiness?
Being in the moment.
How would you like to die?
Sleeping.
What is your motto?
Stay kind always.
Olga Peretyatko returns to Buenos Aires to perform her signature bel canto role
A new production of Donizetti's opera premiered at the Teatro Colón. It is significant in that it is the first time the opera has been staged at the Colón.
With very few elements, the plot was brought to life on stage. Gabriel Caputo's idea consisted of hanging structures and six platforms of different heights illuminated on the floor for the solo singers. At the back of the stage the cyclorama with the extraordinary lighting climates provided by Rubén Conde and in front the Chorus in their seats.
With the sparse, but absolutely necessary, theatrical movements and the different positions of the soloists created by Marina Mora, it was possible to frame each of the scenes and create the right atmosphere for this great drama. The costumes were not historical, but black, contemporary and in some cases typical of a concert, and were chosen, according to the programme, by Mercedes Nastri.
Maestro Iñaki Encina Oyón achieved a very neat orchestral version that grew in the course of the performance.
"Olga Peretyatko (Anna Bolena) est la diva de la soirée: la soprano russe impressionne par sa maitrise et sa technique, même si la longueur du rôle induit quelques signes de fatigue en fin de spectacle, avec des mediums plus faibles. La fluidite du timbre sied bien а son personnage d’Anna Bolena. Avec agilite et volume, ses puissantes projections filent tout droit vers les cimes des aigus. Son sens vocal du drame, en echo de l’orchestre et des injonctions d’Iсaki Encina Oyуn, les nuances de son phrase en font une interprete habile et elegante dans des projections lisses, tantфt affilees par l’amertume, tantot aiguisees par l’espoir. Le timbre est chaleureux et genereux, le vibrato toujours agreable et discret". Review by Sébastien Vacelet for Olyrix
"Entre esas pocas se encuentra la espléndida soprano rusa Olga Peretyatko quien ofrece una Anna Bolena plena de matices que van desde un hilo de voz apenas audible hasta la plena potencia. A su exquisita presencia escénica suma una depurada línea de canto, perfecto estilo, gradaciones y sutilezas por doquier, agilidades perfectas y el adecuado dramatismo que exige la parte." Review by Gustavo Gabriel Otero for Mundoclasico
"El papel protagónico de Ana Bolena exige una soprano con una voz poderosa y una gran habilidad actoral. En esta nueva representación en el Teatro Colón, la talentosa soprano rusa Olga Peretyatko se encargó del rol de manera cautivadora, a pesar de ser una soprano lírica y no una dramática de agilidad. Su interpretación desplegó una fina y compleja actuación, expresando la angustia y vulnerabilidad del personaje de manera magistral. La pureza inicial de su voz contrasta con su expresión iracunda al maldecir a su rival, y su lucha interior entre la rabia y la voluntad de perdonar que se mantiene visible hasta la última nota.
Peretyatko posee un timbre sedoso intensamente vibrado, que no encuentra dificultad ni en los agudos ni en los graves. Su técnica vocal sólida le permite abordar los desafíos de las coloraturas y las líneas melódicas exigentes con precisión y belleza. Su interpretación está respaldada por un porte altivo y una verdadera apropiación de la música, expresando matices con un rubato elocuente". Review by Battaglia
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!