Since receiving First Prize at the Francisco Viñas 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’s leading opera houses, including the Metropolitan Opera, Opernhaus Zürich, the Bayerische Staatsoper, Opéra National de Paris, and the Gran Teatre del Liceu.
Since receiving First Prize at the Francisco Viñas 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’s leading opera houses, including the Metropolitan Opera, Opernhaus Zürich, the Bayerische Staatsoper, Opéra National de Paris, and the Gran Teatre del Liceu.
Several exciting role debuts fill Olga Kulchynska´s 2025/26 season: with the Vienna State Opera she makes her highly anticipated role debut as Marguerite in Gounod’s Faust in Frank Castorf’s production under the baton of Frédéric Chaslin, and later in the season, she reprises the role with Munich’s 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 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, staged by Alessandro Talevi and conducted by Keri-Lynn Wilson. The soprano makes returns to Vienna as Blanche in Poulenc’s Dialogues des Carmélites 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’s staging of Così fan tutte.
Highlights of Kulchynska’s recent seasons include her house and role debut at the 2025 Salzburg Festival as Cleopatra in Giulio Cesare, in a new production from Dmitry Tcherniakov with musical direction by Emmanuelle Haim, and a debut with London’s Royal Opera House as Micaëla in Carmen and as Mimi in La bohème, the role she previously performed at the Opernhaus Zürich. With the Bayerische Staatsoper Kulchynska made her role debuts as Fiordiligi in Così fan tutte, as Ilia in Idomeneo, and as Natasha in Prokofiev’s War and Peace, with reprisals of Pamina in Die Zauberflöte and Adina in L’elisir d’amore. After her dazzling company debut at the Metropolitan Opera as Musetta in La bohème the soprano regularly returns to New York, most recently as Susanna in Le nozze di Figaro and Liù in Turandot. Kulchynska has performed on other major stages including the Vienna State Opera and Arena di Verona as Micaëla in Carmen; Opéra de Lausanne as Mathilde in William Tell; La Monnaie in Brussels as Tsarevna Swan-Bird in The Tale of Tsar Saltan; Opéra de Paris as Ginevra in Ariodante. She also appeared in Marina Abramović’s 7 deaths of Maria Callas at Amsterdam’s Royal Theatre Carré, and as Juliette in Romeo et Juliette at Opéra de Rouen. Following her sensational first performances with Opernhaus Zürich as Giulietta in I Capuleti e i Montecchi, the soprano was invited to return there as Pamina, Musetta, Adina and Zerlina. She was heard as Rosina in Il barbiere di Siviglia at the Opera Bastille in Paris, Musetta in La bohème at Opera di Roma and Dutch National Opera, and Pamina in Die Zauberflöte at the Hamburg State Opera and at the Castell de Peralada Festival.
On the concert stage, Kulchynska performed Rachmaninoff’s The Bells in Utrecht and Amsterdam with maestro Karina Canellakis as well as at the Edinburgh Festival, in Rossini’s Stabat Mater in Ljubljana at the Cankarjev Dom, and in the title role of Iolanta in concert at Lighthouse, Poole’s Centre for the Arts with the Bournemouth Symphony Orchestra. The soprano appeared with the Ukrainian Freedom Orchestra and maestro Keri-Lynn Wilson in Beethoven’s Symphony No. 9, both at the Polish National Opera in Warsaw and at Berlin’s Schlossgarten Schönhausen.
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’s The Tsar’s Bride, Corinna in Rossini’s Il viaggio a Reims, Gilda in Rigoletto and Susanna in Le nozze di Figaro. She later returned to the Bolshoi Theater as Volkhova in Sadko.
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 Viñas Competition, Kulchynska has been the recipient of prizes in numerous international vocal competitions including Plácido Domingo’s Operalia Competition, the Bul-Bul International Vocal Competition in Baku, and the Mykola Lysenko International Music Competition in Kiev.
