Alyona Abramova
Shirley Thomson
“the resplendent mezzo Alyona Abramova”
(Neue Musik Zeitung)
Gallery



Mezzo-soprano Alyona Abramova began her journey at the renowned Opernstudio of Bayerische Staatsoper, where she spent two seasons honing her craft as a member of the prestigious Opernstudio of Bayerische Staatsoper. During this time she showcased her versatility in many productions including Jenůfa under Tomáš Hanus, Elektra under Simone Young, Rusalka under Andris Nelsons, Suor Angelica under Kirill Petrenko, La traviata under Asher Fisch and Lucia di Lammermoor under Antonino Fogliani.
Abramova’s professional career was launched in the 2018/19 season and included her return to Bayerische Staatsoper in guest performances as Mercédès in Carmen under Dan Ettinger and as Olga in Krzysztof Warlikowski’s acclaimed staging of Eugene Onegin under Joana Mallwitz as well as her highly-praised Glyndebourne Festival Opera debut as Third Nymph in Rusalka under Music Director Robin Ticciati.
See more
Most recent experience on the opera stage for Alyona Abramova includes her role debut as Maddalena in Rigoletto for Opera North, Mercédѐs at Staatsoper Berlin conducted by Daniel Barenboim, Christof Loy’s new production of Rusalka for Teatro Real, led by Ivor Bolton, and back in Munich she gave performances of Rachmaninov’s Anna Karenina with the ballet of Bayerische Staatsoper and reprised Third Nymph in a revival of Martin Kušej’s production of Rusalka, conducted by James Gaffigan.
On the concert platform, Abramova recently added to her repertoire with first performances of Verdi’s Requiem at the Sage Gateshead with Royal Northern Sinfonia under Dinis Sousa, she’s performed Mozart’s Requiem with both Opéra et Orchestre National de Montpellier and Kyoto Symphony Orchestra and enjoyed performances of both Mahler’s Symphony No.3 and Beethoven’s Symphony No.9. With Deutsches Symphonie-Orchester Berlin, under Music Director Robin Ticciati, Alyona debuted in concert performances of Rusalka.
Trained at Moscow’s Maimonides State Classical Academy with Nina Fomina, and at the Galina Vishnevskaya Opera Centre under the guidance of Elena Zaremba, Abramova has built a diverse repertoire with performances such as Dunyasha in The Tsar’s Bride as part of the Third International Mstislav Rostropovich Festival in Orenburg, Lyubasha in The Tsar’s Bride, the Innkeeper in Boris Godunov, Hänsel in Hänsel und Gretel, the Page in Salome and Suzuki in Madama Butterfly.
“Alyona Abramova made Maddalena much more than a vamp, bringing out her youth.”
“Alyona Abramova was a richly voiced Maddalena.”
“Abramova’s rich, nuanced singing convinced me that she is soon destined for much bigger roles.”
“…pleasingly complemented by Alyona Abramova’s statuesque Maddalena.”
“Alyona Abramova, suitably seductive as Maddalena.”
“Glyndebourne sported a terrific trio of wood sprites, particularly the rich mezzo of Alyona Abramova”
“The Russian mezzo Alyona Abramova brings a very interesting timbre to the role of Vera Boronel [in The Consul]”
“[in Weber’s Oberon] Alyona Abramova sang Titania with perfect precision”