{"id":1388,"date":"2022-05-05T12:55:55","date_gmt":"2022-05-05T10:55:55","guid":{"rendered":"https:\/\/centrestagemanagement.com\/?p=1388"},"modified":"2026-09-01T13:41:26","modified_gmt":"2026-09-01T11:41:26","slug":"olga-kulchynska","status":"publish","type":"post","link":"https:\/\/centrestagemanagement.com\/en\/artists\/soprano\/olga-kulchynska\/","title":{"rendered":"Olga Kulchynska"},"content":{"rendered":"<p>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<p>Several exciting debuts mark Olga Kulchynska\u00b4s 2026\/27 season: with the Vienna State Opera she makes her highly anticipated role debut as Donna Elvira in Barrie Kosky\u2019s production of Mozart\u2019s <strong><em>Don Giovanni <\/em><\/strong>with musical direction by Tom\u00e1\u0161 Hanus. With the Bayerische Staatsoper she debuts as Maria in Tchaikovsky\u2019s <strong><em>Mazeppa<\/em><\/strong> in Dmitri Tcherniakov\u2019s new production, under the baton of Daniele Rustioni. The soprano makes both her company and role debut as Pannochka (The Maiden) in Rimsky-Korsakov\u2019s <strong><em>May Night<\/em><\/strong> with Op\u00e9ra National de Lyon in a new production staged by Christof Loy and conducted by Timur Zangiev. Kulchynska then sees her first performances of Norina in Donizetti\u2019s <strong><em>Don Pasquale<\/em><\/strong> at the Op\u00e9ra de Paris with Speranza Scappucci leading Damiano Michieletto\u2019s production. Among additional season highlights are Kulchynska\u2019s return to the role of Countess Almaviva in Robert Carsen\u2019s production of <strong><em>Le nozze di Figaro <\/em><\/strong>at Teatro Real de Madrid, and her acclaimed portrayal of Le\u00efla in Bizet\u2019s <strong><em>Les p\u00eacheurs de perles <\/em><\/strong>at the Vienna State Opera staged by Ersan Mondtag and conducted by Emmanuel Villaume.<\/p>\n<p>Highlights of Kulchynska\u2019s recent seasons include her house and role debut as Tatyana in <strong><em>Eugene Onegin <\/em><\/strong>with the Santa Fe Opera, a double debut at the 2025 Salzburg Festival as Cleopatra in <strong><em>Giulio Cesare<\/em><\/strong> in a new production from Dmitry Tcherniakov with musical direction by Emmanuelle Ha\u00efm, her debut as Countess Almaviva in <strong><em>Le nozze di Figaro <\/em><\/strong>with Dutch National Opera, and a debut with London\u2019s Royal Opera House as Mica\u00ebla in <strong><em>Carmen<\/em><\/strong> and as Mimi in <strong><em>La boh\u00e8me<\/em><\/strong>, the role she previously performed for Opernhaus Z\u00fcrich. With the Bayerische Staatsoper Kulchynska made her role debuts as Fiordiligi in <strong><em>Cos\u00ec fan tutte, <\/em><\/strong>as Ilia in <strong><em>Idomeneo, <\/em><\/strong>and as Natasha in Prokofiev\u2019s <strong><em>War and Peace<\/em><\/strong>, with reprisals of Pamina in <strong><em>Die\u00a0Zauberfl\u00f6te <\/em><\/strong>and Adina in <strong><em>L\u2019elisir d\u2019amore<\/em><\/strong>. After her dazzling company debut at the Metropolitan Opera as Musetta in <strong><em>La boh\u00e8me<\/em><\/strong> the soprano regularly returns to New York, most recently as Susanna in <strong><em>Le nozze di Figaro <\/em><\/strong>and Li\u00f9 in <strong><em>Turandot.<\/em><\/strong> Kulchynska has performed on other major stages including the Vienna State Opera as Marguerite in Gounod\u2019s <strong><em>Faust, <\/em><\/strong>as Blanche de la Force in Poulenc\u2019s <strong><em>Dialogues des Carm\u00e9lites, <\/em><\/strong>and as Mica\u00ebla in <strong><em>Carmen,<\/em><\/strong> a role she also brought to the Arena de Verona. For Op\u00e9ra de Lausanne she was Mathilde in <strong><em>Guillaume Tell<\/em><\/strong>, at La Monnaie in Brussels she appeared as Tsarevna Swan-Bird in <strong><em>The Tale of Tsar Saltan,<\/em><\/strong> and for Op\u00e9ra de Paris she was Ginevra in <strong><em>Ariodante<\/em><\/strong>. She also saw performances in Marina Abramovi\u0107\u2019s <strong><em>7 deaths of Maria Callas <\/em><\/strong>at Amsterdam\u2019s Royal Theatre Carr\u00e9 and as Juliette in <strong><em>Romeo et Juliette<\/em><\/strong> for Op\u00e9ra de Rouen<strong><em>. <\/em><\/strong>Following her sensational first performances with Opernhaus Z\u00fcrich as Giulietta in <strong><em>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 <strong><em>Il barbiere di Siviglia<\/em><\/strong> at the Opera Bastille in Paris, Musetta in <strong><em>La boh\u00e8me<\/em><\/strong> at Opera di Roma and Dutch National Opera, and Pamina in <strong><em>Die Zauberfl\u00f6te<\/em><\/strong> at the Hamburg State Opera and at the Castell de Peralada Festival.<\/p>\n<p>On the concert stage, Kulchynska performed Rachmaninoff&#8217;s <strong><em>The Bells<\/em><\/strong> in Utrecht and Amsterdam with maestro Karina Canellakis as well as at the Edinburgh Festival; in Rossini\u2019s <strong><em>Stabat Mater<\/em><\/strong> in Ljubljana at the Cankarjev Dom; and in the title role of <strong><em>Iolanta<\/em><\/strong> in concert at Lighthouse, Poole&#8217;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 <strong><em>Symphony No. 9<\/em><\/strong>, both at the Polish National Opera in Warsaw and at Berlin\u2019s Schlossgarten Sch\u00f6nhausen.<\/p>\n<p>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 <strong><em>The Tsar\u2019s Bride<\/em><\/strong>, Corinna in Rossini\u2019s <strong><em>Il viaggio a Reims<\/em><\/strong>, Gilda in <strong><em>Rigoletto<\/em><\/strong> and Susanna in <strong><em>Le nozze di Figaro. <\/em><\/strong>She later returned to the Bolshoi Theater as Volkhova in <strong><em>Sadko.<\/em><\/strong><\/p>\n<p>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>\n<p>&nbsp;<\/p>\n<p>\u00a9 CSAM, August 2026<\/p>\n<p><em>\u00a0<\/em><\/p>","protected":false},"excerpt":{"rendered":"<p>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:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/1388","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/comments?post=1388"}],"version-history":[{"count":37,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/1388\/revisions"}],"predecessor-version":[{"id":12750,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/1388\/revisions\/12750"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media\/6470"}],"wp:attachment":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media?parent=1388"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/categories?post=1388"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/tags?post=1388"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}