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Larissa Diadkova

This Russian mezzo soprano, more correctly referred to as a mezzo contralto, worked for quite a while in the shadow of her younger colleague Olga Borodina; but since arriving at international fame, she’s comprised for lost period. Her dark, greatly powerful voice, increasing from timber-rattling upper body shades to a concentrated penetrating best, makes so daring a sound concerning arrest the interest of the very most distracted viewers. Her fiery character in the best Russian and Italian dramatic tasks is evident just about everywhere, but never permitted to spill over into self-indulgence. She actually is both a stunning and reliable personage on-stage, and she’s achieved equal achievement being a concert vocalist, earning the support of main conductors. Although there is normally some issue about her specific date of delivery, most sources acknowledge 1955 as the entire year. After studies on the Leningrad Conservatory, she was involved with the Kirov Opera in 1978 and produced slow but continuous improvement through the rates and into leading assignments. In 1984, Diadkova was successful in the Glinka competition, but discovered the international identification was relatively at arms size owing to the beautiful presence from the relatively more attractive Borodina. Still, after the Soviet Union crumbled and Leningrad became St. Petersburg once again, the upsurge in touring from the Kirov appreciated the company to place forth all their most certified artists. Furthermore, many Kirov performers, so thoroughly groomed by music movie director Valery Gergiev, thought we would pursue more profitable professions in the Western, making greater possibilities for others for the roster. Diadkova not merely sang more essential engagements, but was also provided more possibilities to record her primary repertory. She stuffed highest objectives as both Pauline as well as the Countess in Tchaikovsky’s Pique Dame, also attaining high marks on her behalf Duenna in Prokofiev’s Betrothal inside a Monastery, Lyubov in Mazeppa, Nezhata in Sadko, Marfa in Khovanshchina, Konchakovna in Prince Igor, Ratmir in Glinka’s Russlan and Ludmilla, Kashcheyevna in Kashchey the Immortal, and Olga in Yevgeny Onegin. Furthermore, she was significantly noticed in Verdi tasks that her large, flame-like tone of voice was perfectly appropriate. When Gergiev talked about his forthcoming 2001 Aida inside a tour of THE UK, he boasted of Diadkova, stating “she actually is incredible,” noting additional that she was an integral part of the 1st solid, while Borodina was to sing with the next solid. When Diadkova sang in the SAN FRANCISCO BAY AREA Opera’s Betrothal within a Monastery in 1998, one reviewer preserved that he noticed in her tone of voice and design “a sure-fire Azucena.” She’s since sung that function with great achievement on the Metropolitan Opera in 1999 and provides proved herself an exemplary Ulrica at both Verona and Dallas. Furthermore to London, her Amneris continues to be heard on the Maggio Musicale Fiorentino and in Houston. In Apr 2001, she sang Mistress Quickly with Claudio Abbado as well as the Berlin Philharmonic on the Salzburg Easter Celebration (a job she also documented using the same pushes). Critic Richard Fairman from the London Financial Situations discovered her characterization that of “a well-meaning auntie,” but observed that her “rasping upper body tones” clearly outfitted her for various other grander Verdi mezzo assignments. In 1999, Diadkova’s functionality from the Shostakovich model of Mussorgsky’s Music and Dances of Loss of life with Mstislav Rostropovich as well as the Chicago Symphony Orchestra transfixed a meeting of music critics, leading to some to question if she had been amplified (she wasn’t).

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