Dina Kuznetsova
Soprano

“With far richer vocal colours and a heart-breaking engagement with her character, the Russian-American soprano Dina Kuznetsova was a revelation” (The Arts Desk)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Biography

Kuznetsova has in recent years developed in the Slavic and Russian repertoire which is now central to her seasons. Role debuts include Jenůfa for Teatro Municipal de Santiago de Chile, Katya Kabanová for Staatsoper Hamburg, Rusalka for the Glyndebourne Festival under Sir Andrew Davis and at Teatrodi San Carlo, Naples, and Lisa (Pique Dame) with the Sydney Symphony Orchestra under Vladimir Ashkenazy. This season Dina Kuznetsova takes her acclaimed portrayal of Katya Kabanová to New Zealand Opera in Patrick Nolan’s production under Wyn Davies. 

A keen recitalist and chamber musician, Dina Kuznetsova appears regularly at both the New York Festival of Song and the Chamber Music Society of Lincoln Center and features as part of the Music@Menlo series of CDs performing songs by Dvořák and Shostakovich. 

Kuznetsova has in recent years developed in the Slavic and Russian repertoire which is now central to her seasons. Role debuts include Jenůfa for Teatro Municipal de Santiago de Chile, Katya Kabanová for Staatsoper Hamburg, Rusalka for the Glyndebourne Festival under Sir Andrew Davis and at Teatrodi San Carlo, Naples, and Lisa (Pique Dame) with the Sydney Symphony Orchestra under Vladimir Ashkenazy. This season Dina Kuznetsova takes her acclaimed portrayal of Katya Kabanová to New Zealand Opera in Patrick Nolan’s production under Wyn Davies. 

A keen recitalist and chamber musician, Dina Kuznetsova appears regularly at both the New York Festival of Song and the Chamber Music Society of Lincoln Center and features as part of the Music@Menlo series of CDs performing songs by Dvořák and Shostakovich. 

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Reviews

"Soprano Dina Kuznetsova created a sensitive and sweet Jenufa, owner of an exceptional lyricism, her voice had the virtue of being a powerful tool but also dignified with impeccable legato." (Elmostrador, May 2017) 

“Dina Kuznetsova proved a charismatic Tatyana. She brings a gleaming lyric soprano with an appealing steely edge at the top.” (South Florida Classical Review, January 2017)

 “Of the three soloists, all making NSO debuts as well, the standout — literally — was the soprano Dina Kuznetsova; her warm, clear voice…was able to cut through the masses of sound and make an effect in a way the other two were not.” (Anne Midgette, Washington Post, April 2015)

"Soprano Dina Kuznetsova created a sensitive and sweet Jenufa, owner of an exceptional lyricism, her voice had the virtue of being a powerful tool but also dignified with impeccable legato." (Elmostrador, May 2017) 

“Dina Kuznetsova proved a charismatic Tatyana. She brings a gleaming lyric soprano with an appealing steely edge at the top.” (South Florida Classical Review, January 2017)

 “Of the three soloists, all making NSO debuts as well, the standout — literally — was the soprano Dina Kuznetsova; her warm, clear voice…was able to cut through the masses of sound and make an effect in a way the other two were not.” (Anne Midgette, Washington Post, April 2015)

“Dina Kuznetsova made her Atlanta Opera debut as Cio-Cio San. She embodied Butterfly’s humility and devotion, infusing each phrase with a roundness of tone and commanding a grand dynamic range. Her “Un bel dì” was exceedingly and convincingly intimate.” (Opera News, February 2015)

“Much more naturally engaging, and obviously one of Puccini’s female favorites, is the faithful slave girl Liù. Dina Kuznetsova sang the part with assured and sweet tones that made one wonder why the stubborn Prince Calàf insisted on loving the cold Turandot.” (Luther Wade, Opera News, January 2015)

"Tanner was greatly abetted by a very sweetly and tenderly sung Liu in Dina Kuznetsova" (Phillip Larrimore, Charlotte Observer, January 2015)

"Our Cio-Cio San, Dina Kuznetsova, is the sort of singer who commands attention on stage. She has great charisma and a huge, ringing voice with a clarion top. She can portray powerful emotions just with her voice. Her “Un bel dí” was inspired" (James Paulk, artsatl.com, November 2014)

"The evening brought us two very promising emerging artists: Russian-American soprano Dina Kuznetsova and Canadian tenor Joseph Kaiser. Kuznetsova’s performance was mesmerizing. Her tremendous dynamic range and vocal agility soared in Edward Pallasz’s ‘Matki Czlowieczej Lament’ (The Lament of the Mother of Mankind). Her voice floated effortlessly, even at the top of her tessitura, and she very selectively sang without vibrato for heightened drama. Her vocal agility and buoyancy was especially strong in Bacewicz’s ‘Boli mnie glowa’ (I have Such a Headache). (Jonathan Slawson, American Record Guide, May/June 2014)

“The most powerful section was Kuznetsova's heartbreaking performance of "The Suicide," a movement built around a poem by Guillaume Apollonaire. Seldom will you hear the weighty sadness of someone contemplating taking their own life expressed so powerfully.” (Rob Hubbard, TwinCities.com, January 2014)

“It’s Kuznetsova’s unsparing musical performance that really turns you to jelly, however. Butterfly is really three roles in one: the girl in over her head, the lover ferociously in denial, and the abandoned tragic heroine… Kuznetsova has ample volume, passion and intelligence to bring all three to life... If you’re in bits by the end, it’s the diva wot done it.” (Neil Fisher, The Times, October 2013)

“Dina Kuznetsova dominates... It's not just her voice, which is gleaming, penetrating and arresting; it's the fact that she puts the English words across more clearly than anyone else” (Erica Jeal, The Guardian, October 2013)

"In an impressive house debut, Russian-American Dina Kuznetsova sang a Cio-Cio-San of poignancy and resilience. Her bold soprano voice, spun of unusually dark tonal colouring… proved amply capable of soaring above the swell of the orchestra. She brought a portrayal that was nuanced, too, youthful diffidence in the first act gradually transitioning to heartbreaking fidelity in the second. In the final scene, her dawning recognition of her betrayal by her husband and the transition to finding inner strength and determination of purpose were chilling.” John E de Wald, Opera Britannia, October 2013)

“As Cio-Cio San the Russian-American soprano Dina Kuznetsova coped heroically with the vocal challenges Puccini throws her way and used her voluminous soprano to telling effect….she was capable of producing plenty of mellifluous tone especially in ‘One fine day' and her suicide scene. She also managed to get more of David Parry's English translation across than the remainder of the cast put together. Altogether this was an impressive company debut.” (Keith McDonnell, What’s on Stage, October 2013)

"With far richer vocal colours and a heartbreaking engagement with her character, the Russian-American soprano Dina Kuznetsova was a revelation as Cio-Cio San. Her full-blooded timbre, darker of hue than we usually hear in this girlish role, lent a mournful flavour to her performance and made for an exceptional partnership with mezzo Pamela Helen Stephen’s wonderfully sung, fully-realised Suzuki." (Mark Valencia, The Arts Desk, October 2013)

“[Dina Kuznetsova] brings to the letter scene just about everything one could ask for — lyricism, frustration, tenderness, gorgeous quiet top notes, a vocal immersion into the romanticism of what she is doing”. (Edmonton Journal, April 2013)

“Among a vast cast [at The Met] of courtiers and ladies-in-waiting, soprano Dina Kuznetsova’s rich, distinctive soprano made an impact in her brief scene of farewell as Francesca’s sister Samaritana”. (New York Post, March 2013)

“Soprano Dina Kuznetsova as Lisa has wonderful transparency but without a hint of thinness, creating a multi-hued tone that moves from light flexibility and graceful musical caprice to expressive weight in an instant.” (Peter McCallum, Sydney Morning Herald, December 2012)

"After the urgent rush of Verdi's Overture to "La Forza del Destino," arias from his "Simon Boccanegra" and "Il Trovatore" proved ideal territory for Kuznetsova, whose strong, chiaroscuro voice ranged freely over the glowing spirit of "Come in quest'ora bruna" ("How in this morning light") and traversed the lyrical longing of "Tacea la notte placida" ("The peaceful night lay silent")... The marvel of Kuznetsova's voice is its ability to reach lower ranges with full-bodied sound, yet produce hauntingly pure notes at the top of her range." (Ventura Country Star, November 2012)

"Russian-American soprano Dina Kuznetsova gave a grand and soulful performance of Rachmaninoff’s Six Romances. It was a glorious luxury to hear her in the intimacy of the Glenn Gould Studio." (Concertonet.com, April 2012)

"The Russian-American soprano Dina Kuznetsova captures all Rusalka’s burgeoning desire and tragic disappointment and, after a full-throttle Song to the Moon, sang with the golden tone the role requires." (The Daily Telegraph, July 2011)

"Dina Kuznetsova is glorious in the title role, unleashing torrents of sound and emotion in ways that are breathtaking." (The Guardian, July 2011)

"The evening is very well sung, with Dina Kuznetsova heartbreaking in the title role, Pavel Cernoch in ardently ringing voice as her turncoat prince, and powerful support from Mischa Schelomianski as her father and Larissa Diadkova as a witch." (Daily Mail, July 2011)

 

"Rusalka’s loving and desperate times are unerringly captured by Dina Kuznetsova. She is a marvellous actress and a fabulous singer. It is difficult to think of Rusalka, whether as sea nymph or as human – with her bitter experiences yet forgiving nature, and her ultimately being lost to two worlds – being better portrayed or better sung than by Kuznetsova." (www.classicalsource.com, July 2011)

"…Tatiana, the soprano Dina Kuznetsova, is physically more credible as a young girl than a princess, but what a seductive and arresting voice – warm and generous, with an easy top end that conceals a true lyric temperament’ (Le Figaro, January 2010)

Discography

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