EkaterinaSiurina

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Soprano
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  • Eugene Onegin

    New National Theatre Tokyo
    Jan 2024 - Feb 2024

    • The de facto protagonist, Tatyana, was convincingly portrayed by the Russian soprano Ekaterina Siurina. Although she did not look very much like a bookish, lovelorn teenage girl in Act 1, her versatile voice gradually revealed everything in this deeply affectionate character. The celebrated letter aria was sung emotively with impeccable technique. The most intense line, “Kto ti, moi angel li khranitel?” (Who are you – my guardian angel?), was especially touching, an angelic sound as if from heaven. The transformation from a shy, self-doubting girl to a determined, unleashed young woman overnight was superbly performed both vocally and dramatically.

    • Ekaterina Siurina, como Tatiana, presentó una voz de timbre claro de lírico-ligera y una sólida técnica. [Translated] Ekaterina Siurina, as Tatiana, presented a clear-toned lyrical-light voice and solid technique.

  • "Where Is My Beloved"

    Delos
    Sep 2023

    • Ekaterina Siurina‘s two albums Where is my Beloved? and Amour éternél for DELOS featured a world-class artist with a plethora of colors in her vocal paint box and a faultless instinct for characterization in soprano arias by Dvořák, Puccini, Cilea, Boito, Verdi, Tchaikovsky, Charpentier, Gounod, and Bizet. Siurina is the possessor of one of the most beautiful voices this writer has heard in over sixty years of listening to singers.

    • "Siurina's voice has, of course grown in amplitude of late, and a hint of metal now lurks beneath its silky sound. Her ability to float soft high pianissimos remains immaculate: the final 'Parlami amore!' in 'Senza Mamma' is ravishing, as is the passage towards the close of Tatyana's Letter Scene where Tchaikovsky's heroine loses herself in rapt contemplation of whether Onegin is angel of tempter. But this is also a voice that can soar comfortably over a large orchestra to thrilling effect at the end of Butterfly's 'Un bel di' or at 'Guarda ben! Amore addio!' in the same opera's final scene." "Her diction is admirably clear but you notice that it is the ebb and flow of line and dynamics that carry the primary interpretive weight. The arching phrases of 'Io son l'umile ancella' from Cilea's Adriana Lecouvreur, taken slower than usual, are particularly telling in the slightly self-conscious way they suggest the mixture of sincerity, rapture and self-regard that characterise Adriana's view of her own artistry. The surges of emotion that Iolanta can barely voice or identify, meanwhile are conveyed by the most straightforward means, and there are no overt histrionics in the aria from Boito's Mefistofele, where the oscillation between declamation and melisma, all superbly shaped, tell us everything we need to know about the abstraction and horror that fill Margherita's head."

    • The album begins with the so-called “Song to the Moon”, 'Mesicku na nebi hlubokén' from Rusalka by Antonín Dvořák. Siurina's voice has gained expansion in her central register, without losing brilliance in her high notes. Like good wines, its timbre has matured very well. She still has a pristine and warm tone, as well as a certain tenderness when projecting feelings. She ethereally floats each phrase of the “Song to the Moon,” with an impeccable singing line. Siurina sings Adriana's aria 'Io son l'umile ancella' by Adriana Lecouvreur by Francesco Cilea. Her performance is delicate, displaying an exquisite singing line and pristine timbre. Here we can hear that her lower register is well supported and projected. Her mezza voce is impeccable, in addition to making nuances with an almost bel canto refinement. She continues with Margherita's aria '“L'altra notte in Fondo al Mare' from Mefistofele by Arrigo Boito. An album that shows the vocal and interpretive maturity of Ekaterina Siurina that we hope to see more often in large theaters around the world.

    • No wonder Ekaterina Siurina sounds like a girl in her 20’s at the age of 48! A complete master of her glorious lyric soprano voice, the Russian soprano sings – like one of the old voice teachers used to preach – using her dividends, but not wasting her capital. Yes, she can surmount the vocal challenges of Madama Butterfly’s hopeful Un bel di, vedremo and the anguished Tu? Tu? Piccolo iddio! and she can also spin out a legato line to die for and she can cap the end of Senza Mamma with an ethereal pianissimo. Ms. Siurina can do it all when it comes to the lyric soprano repertoire, be it the other-worldly Rusalka or the girlish Tatiana or the intact Amelia of Verdi’s Simon Boccanegra or the distraught Marguerita of Boito’s Mefistofele It has been three years since I first heard Ekaterina Siurina in Amour Eternelle, her first album for Delos. In this, her second album for Delos, Siurina reinforces her great reputation, accompanied by the superb American conductor Constantine Orbelian, who leads the Kaunas City Symphony Orchestra offering minute by minute support to the soloist.

    • The finesse of her delivery, her sumptuous tone, and the emotion with which she delivers the material make the fifty-three-minute release, recorded at Kaunas Philharmonic in July 2022, an enthralling listen from start to finish. Against a softly shimmering backdrop of harp, strings, and woodwinds, Siurina enters, her voice exuding control as it gracefully leaps between registers and conveying intense longing as she pleads with the moon to help her win the prince's love. The four Puccini arias follow in sequence, “In quelle trine morbide” from Manon Lescaut given a moving reading first and a heartbreaking treatment by Siurina of “Senza Mamma” from the one-act Suor Angelica second. Two Madama Butterfly selections come next, “Un bel di, vedremo” beautifully rendered by the soprano in moving seamlessly between tenderness, anticipation, and hope, and “Tu? Tu? Piccolo iddio!,” Siurina expressing the sadness of Cio-Cio-San as she bids her child farewell during the opera's tragic final moments. To say the album's packed with show-stopping performances isn't hyperbole. Had these arias been delivered live rather than in the studio, the audience would have responded rapturously after each one. It's easy indeed to picture attendees overcome by the depth of feeling Siurina and company bring to “Senza Mamma” and “Io son l'umile ancella” and the range of emotion expressed in the eight other performances too.

  • Don Giovanni

    Wiener Staatsoper
    Jan 2018

    • Donna Anna is no role for the fainthearted and although diminutive in stature, Ekaterina Siurina brought dignity and formidable vocal prowess to the part ... “Non mi dir” was refulgent with a beautifully pitched piano B flat fermata on “abbastanza” and pristine semiquaver roulades.

  • L'elisir d'amore

    Pittsburgh Opera
    Apr 2018

    • Ekaterina Siurina's performance as Adina - the object of the lead males' affections - was strong [...] Ms Siurina as Adina demonstrated quantifiable and visible character growth, moving from passively coquettish to assertively in love. Heartwarming, and well-acted - her duet with Mr. Pecchioli in the second act was the vocal and dramatic high point of the evening.