Since receiving First Prize at the Francisco Vi\u00f1as Vocal Competition in Barcelona in 2015, Olga Kulchynska has quickly established herself as one of the leading lyrical sopranos of her generation. She frequently appears with the world\u2019s leading opera houses, including the Metropolitan Opera, Opernhaus Z\u00fcrich, the Bayerische Staatsoper, Op\u00e9ra National de Paris, and the Gran Teatre del Liceu.<\/p>\n
Several exciting role debuts fill Olga Kulchynska\u00b4s 2025\/26 season: with the Vienna State Opera she makes her highly anticipated role debut as Marguerite in Gounod\u2019s Faust<\/em><\/strong> in Frank Castorf\u2019s production under the baton of Fr\u00e9d\u00e9ric Chaslin, and later in the season, she reprises the role with Munich\u2019s Bayerische Staatsoper in a new production by Lotte de Beer with Nathalie Stutzmann conducting. With the Dutch National Opera, Kulchynska makes an auspicious role debut as Countess Almaviva in Le nozze di Figaro<\/em><\/strong> in a new production from Kirill Serebrennikov, led by Francesco Corti. She makes her company debut with the Santa Fe Opera in her first performances of Tatyana in Eugene Onegin<\/em><\/strong>, staged by Alessandro Talevi and conducted by Keri-Lynn Wilson. The soprano makes returns to Vienna as Blanche in Poulenc\u2019s Dialogues des Carm\u00e9lites<\/em><\/strong> under the musical direction by Robin Ticciati and in the production by Magdalena Fuchsberger, and to the Hamburg State Opera as Fiordiligi with Omer Meir Wellber conducting Herbert Fritsch\u2019s staging of Cos\u00ec fan tutte<\/em><\/strong>.<\/p>\n Highlights of Kulchynska\u2019s recent seasons include her house and role debut at the 2025 Salzburg Festival as Cleopatra in Giulio Cesare<\/em><\/strong>, in a new production from Dmitry Tcherniakov with musical direction by Emmanuelle Haim, and a debut with London\u2019s Royal Opera House as Mica\u00ebla in Carmen<\/em><\/strong> and as Mimi in La boh\u00e8me<\/em><\/strong>, the role she previously performed at the Opernhaus Z\u00fcrich. <\/em><\/strong>With the Bayerische Staatsoper Kulchynska made her role debuts as Fiordiligi in Cos\u00ec fan tutte, <\/em><\/strong>as Ilia in Idomeneo, <\/em><\/strong>and as Natasha in Prokofiev\u2019s War and Peace<\/em><\/strong>, with reprisals of Pamina in Die\u00a0Zauberfl\u00f6te <\/em><\/strong>and Adina in L\u2019elisir d\u2019amore<\/em><\/strong>. After her dazzling company debut at the Metropolitan Opera as Musetta in La boh\u00e8me<\/em><\/strong> the soprano regularly returns to New York, most recently as Susanna in Le nozze di Figaro <\/em><\/strong>and Li\u00f9 in Turandot. <\/em><\/strong>Kulchynska has performed on other major stages including the Vienna State Opera and Arena di Verona as Mica\u00ebla in Carmen; <\/em><\/strong>Op\u00e9ra de Lausanne as Mathilde in William Tell<\/em><\/strong>; La Monnaie in Brussels as Tsarevna Swan-Bird in The Tale of Tsar Saltan; <\/em><\/strong>Op\u00e9ra de Paris as Ginevra in Ariodante<\/em><\/strong>. She also appeared in Marina Abramovi\u0107\u2019s 7 deaths of Maria Callas <\/em><\/strong>at Amsterdam\u2019s Royal Theatre Carr\u00e9, and as Juliette in Romeo et Juliette<\/em><\/strong> at Op\u00e9ra de Rouen. <\/em><\/strong>Following her sensational first performances with Opernhaus Z\u00fcrich as Giulietta in I Capuleti e i Montecchi<\/em><\/strong>, the soprano was invited to return there as Pamina, Musetta, Adina and Zerlina. She was heard as Rosina in Il barbiere di Siviglia<\/em><\/strong> at the Opera Bastille in Paris, Musetta in La boh\u00e8me<\/em><\/strong> at Opera di Roma and Dutch National Opera, and Pamina in Die Zauberfl\u00f6te<\/em><\/strong> at the Hamburg State Opera and at the Castell de Peralada Festival.<\/p>\n On the concert stage, Kulchynska performed Rachmaninoff’s The Bells<\/em><\/strong> in Utrecht and Amsterdam with maestro Karina Canellakis as well as at the Edinburgh Festival, in Rossini\u2019s Stabat Mater<\/em><\/strong> in Ljubljana at the Cankarjev Dom, and in the title role of Iolanta<\/em><\/strong> in concert at Lighthouse, Poole’s Centre for the Arts with the Bournemouth Symphony\u00a0Orchestra. The soprano appeared with the Ukrainian Freedom Orchestra and maestro Keri-Lynn Wilson in Beethoven\u2019s Symphony No. 9<\/em><\/strong>, both at the Polish National Opera in Warsaw and at Berlin\u2019s Schlossgarten Sch\u00f6nhausen.<\/p>\n Olga Kulchynska is a graduate of the Young Artist Program of Bolshoi Theater in Moscow. During her tenure she rose to become a leading member of the company, making notable debuts including Marfa in the production of Rimsy-Korsakov\u2019s The Tsar\u2019s Bride<\/em><\/strong>, Corinna in Rossini\u2019s Il viaggio a Reims<\/em><\/strong>, Gilda in Rigoletto<\/em><\/strong> and Susanna in Le nozze di Figaro. <\/em><\/strong>She later returned to the Bolshoi Theater as Volkhova in Sadko.<\/em><\/strong><\/p>\n Olga Kulchynska was educated in music theory at the R. Glier Kyiv Institute of Music and was graduated in vocal studies at the Pyotr Tchaikovsky National Music Academy of Ukraine. In addition to placing first at the Vi\u00f1as Competition, Kulchynska has been the recipient of prizes in numerous international vocal competitions including Pl\u00e1cido Domingo\u2019s Operalia Competition, the Bul-Bul International Vocal Competition in Baku, and the Mykola Lysenko International Music Competition in Kiev.<\/p>","protected":false},"excerpt":{"rendered":" Since receiving First Prize at the Francisco Vi\u00f1as Vocal Competition in Barcelona in 2015, Olga Kulchynska has quickly established herself as one of the leading lyrical sopranos of her generation. She frequently appears with the world\u2019s leading opera houses, including the Metropolitan Opera, Opernhaus Z\u00fcrich, the Bayerische Staatsoper, Op\u00e9ra National de Paris, and the Gran Teatre del Liceu.<\/p>\n","protected":false},"author":4,"featured_media":6470,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1388","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-soprano"],"acf":[],"_links":{"self":[{"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/posts\/1388","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/comments?post=1388"}],"version-history":[{"count":33,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/posts\/1388\/revisions"}],"predecessor-version":[{"id":9725,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/posts\/1388\/revisions\/9725"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/media\/6470"}],"wp:attachment":[{"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/media?parent=1388"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/categories?post=1388"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/tags?post=1388"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}