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Musical World

Olga Borodina

  • Mezzo-Soprano

Reviews

Olga Borodina press reviews

La Damnation de Faust, Orchestre National du Capitole de Toulouse

“Sa “Ballade du roi de Thulé” et surtout son “D’amour l’ardente flamme” furent un monument chaleureusement ovationné par la salle.”

-  Le Monde, February 13, 2013

“Olga Borodina est une Marguerite somptueuse de timbre et de raffinement vocal. Dans ses deux airs, la mezzo-soprano russe fait entendre d’exquises inflexions et couleurs. Ses deux airs sont sublimes d’émotion retenue…”

 - La Dépêche, February 12, 2013

 “Olga Borodina beeindruckt mit ihrer einzigartigen Stimme, die direkt aus dem Erdinnern aufzusteigen scheint….”

– Der Tagesspiegel, January 14, 2013 

“Vocally, she is a powerhouse; able to sing the highest notes with muscle and she popped out some almost bartitoneish low notes. Almost more importantly, she created a complex character out of a role that is all too often sung as a caricature of the spoiled brat who is used to getting everything she wants. This was a love triangle that she intended to win.”

TheaterJones,  December 20, 2012

 

Metropolitan Opera - Cilea's "Adriana Lecouvreur": 'The mezzo-soprano Olga Borodina dominates every scene she is in as the princess, singing with dusky colorings, supple phrasing and unforced power...' New York Times, 9 Feb 2009

Opera Orchestra - Rimsky-Korsakov's Tsar's Bride: 'The great mezzo-soprano Olga Borodina, in glorious voice, pretty much stole the show as Lyubasha' New York Times, 17 Oct 2008

Metropolitan Opera - Verdi Requiem 18 Sep 2008: 'For sheer vocal splendor, Ms. Borodina may have won the day. Her sound was plush and enveloping' New York Times, 20 Sept 2008

'Ms. Borodina is already a great Amneris. She has one of the most purely beautiful voices around. In this role, she demonstrated how much sheer power and chilling intensity she can call on as well.'New York Times

'The mezzo-soprano Olga Borodina may have the most distinctively beautiful voice of any singer before the public today, dusky in color yet resplendent in sound.' New York Times

'With her mocha-flavored voice -- rich and dark, and yet full of expressive fluctuation within that range -- she had given full evidence of Carmen's sensuality and pride from the first-act ''Habanera'' onward.' New York Times

'Olga Borodina projects melting intensity at any tempo' Opera News 'This is one of the exceptional voices of today' Financial Times

'You don't have to be Italian to play l'Italiana' New York Times 'Borodina has one of the most glorious voices of our time' The Guardian 'Borodina ravishing in 'Samson'' San Fransisco Chronicle