Tatiana LARINA  Soprano
 
 
  BIOGRAPHY  

 

In the spring of 2016 Tatiana Larina enjoyed a huge success as LUCIA DI LAMMERMOOR at the Cologne Opera House. Before, she already earned great acclaim for the portrayal of this very role at the International Music Festival Immling and was awarded here the 'TZ Rose of the Week', an award which is given for outstanding cultural achievements.

As LA TRAVIATA the attractive artist impressed at the Theatre of Bregenz and was hailed by the audience and the press alike

“Star of the evening was the young Georgian soprano Tatiana Larina in the title part as fragile looking Violetta.”

In summer 2014 the artist was awarded the Austrian Music Theatre Prize “The Golden Schikaneder” for this interpretation.

In 2011 the Georgian artist gained considerable attention for her VITELLIA in ‘La Clemeza di Tito’ and the SOPRANO PART in the ‘Verdi Requiem’ at the Opera House Cologne. Prior to these performances she was very successful as TATIANA in ‘Eugen Onegin’ at the Quebec Opera House and in Don ‘Giovanni’ at the Eutin Festival.

Until 2003 the young soprano Tatiana Larina studied singing and vocal pedagogy at the Stawropol University. Since 2008 she continues her studies with Kammersängerin Brigitte Eisenfeld in Berlin, where she also lives. The coloratura soprano absolved master classes with Margherita Rinaldi.

Tatiana Larina made her first stage experiences at the Kutaisi Opera House (Georgian Republic), at the Opera House in Rostov at the Don (Russia) and at the Theatre of Musical Comedy in Pjatigorsk (Russia ). Here, the excellent actress, who shows great stage presence, successfully performed such roles as ADINA, MUSETTA, ADELE, OXANA in Tchaikovsky’s ‘ The Blacksmith Vakula’, MARFA in ‘The Tsar’s Bride’, NEDDA and VIOLETTA VALÉRY. Tatiana Larina also regularly performs as a concert singer with the Stawropol Philharmonic Orchestra.

The Daily Paper of Stuttgart wrote on the soprano’s debut as MANON at the Pforzheim Theatre in November 2012:

‘ Besides, she sings really excellently and seductively purring and hissing she teases the ‚opéra comique’ out of Massenet’s score. With her pleasantly timbred soprano voice, she manages both the grand phrases and the tricky coloraturas.’

In the season 13/14 the artist returned to the Pforzheim Theatre in FIORDILIGI and the three female roles OLYMPIA/ANTONIA/GIULIETTA in ‘Les Contes d’Hoffmann’, which in summer 2015 she also portrayed at the Immling Music Festival.

In the season 2014/15 she made her debut as DONNA ANNA at the Wuppertal Opera House and sang LIDA in ‘La Battaglia di Legnano’ under the musical direction of Michael Hofstetter . In the season 15/16 Tatiana Larina was very succesful in the title part in Bellini’s LA STRANIERA at the Passau/Landshut Theatre. Here, she also sang in opera concerts.

In 2017 Tatiana Larina debutes as GILDA in ‘Rigoletto’ at teh Festival St. Margarethen (Vienna).

 

 
 
 
REVIEWS
 
Südostbayerische Städtetheater Passau/Landshut - La Straniera - ADELAIDE
TATIANA LARINA depicted the ambivalent character of ALAIDE/AGNESE with gripping drama and sensitive cantilenas. Her soprano voice, which has the necessary reserves and a flexible technique, even in the high registers, brings out some remarkable points. Time and again she surprised with new facets of her artistic vocal abilities and she fully succeeded in fulfilling the title part.
Opernglas 3/2016 J.-M.Wienecke
'In the focus: Tatiana Larina. The Georgian singer has already enjoyed great successes at several medium-size stages. She has what it takes for the part of Alaide: a perfectly controlled soprano voice, melodiously reposing in the middle registers and never unsoundly erupting, efforless, perfectly controlled high notes and a considerable will to perform.
Opernwelt - Markus Thiel - February 2016
www.kultiversum.de
Larina's Soprano shines like a Diamond
It is the pure belcanto, which makes Bellini's operas so delightful. That's why they don't work without a top casted title role. Therefore, the young Georgian singer Tatiana Larina was engaged. Effortlessly, with an expressive stage presence she portrays the character of Adelaide, a woman in a red shining dress, who only follows her inner voice. She sings her coloraturas with the lightness of a butterfly, that simultaneously flaps its wings - estatically in the high registers, with abysmal shades in the low registers. Like a diamond her soprano voice shines above the waves of tutti's and in the sweetest pianissimo she touches right in the middle of the soul.
www.mittelbayerische.de
'An enrichement: as "the stranger" the Georgian soprano Tatiana Larina, who effortlessly masters the most demanding Bellini coloraturas, sometimes suffering-loving, sometimes suffering -despairing...'
Passauer Woche - Fritz Greiler
Especially the female voices are touching and enchanting: the Georgian Tatiana Larina in the title role, admirably gentle, then again dramatic and effortlessly switching from warm low-pitched to clear coloraturas.
www.br-klassik.de
'So the demands were high. But the guest singer Tatiana Larina met them to a large extent. The soprano from Ukraine is not only captivating through her seemingly effortless high notes but also through the accurate modeling of each tone. Besides, she has a strong stage presence and dramatic acting intensity. Her Adelaide, the title character, is a disrupted heroine.'
Passauer Neue Presse
www.pnp.de
Opera festival Immling - The Tales of Hoffmann - OLYMPIA, ANTONIA, GIULIETTA
Merely by virtue of Tatiana Larina, who successfuly debuted here as Lucia two years ago, the scheduling of this opera was justified. The young Gregorian singer's performances was considerbely close to the vocal interpretation of the female roles, which many great singer before her failed. With a tenderly primed tone and not at all soubrette-like, she fulminantly mastered Olympia's coloraturas, sang AntoniaÄs part with the necessary richness and warmth. Also in the lower registers of Guiletta's part she rode flawlessly.
Opernglas 10/2015
Be it the soulless doll Olympia, the sensitive Antonia or the calculating courtisan Giulietta. To find someone who can portrays all 3 roles on stage is not always that easy. Each one of these roles requires very particulay vocal skills. At the opera festival in Immling one succeeded in finding such a singer in the person of the young Russian Tatiana Larina. Daringly, she faces up the challenge and succeeds. How beautiful to hear for a change the masterly Olympia aria not sung by a twittering soubrette but by a velvetly soft lyrical soprano, with precisely polished coloraturas and perfectly secure high peaks , despite her dark foudation. As the doomed Antonia, Tatiana Larina can entirely develop her vocal potential, before slipping into the costume of the seductress Giulietta- finally sealing Hoffmann's fall.
Der neue Merker
www.merkur.de
Giessen Theatre - La battaglia di Legnano - LIDA
'Lida was portrayed by the Georgian sopranoTatiana Larina with a thrilling expression. The delightfully warm profundity of her voice is just as captivating as her high notes. She has a sprankling light flexibility and dramatic clout , which showed particularly well in the numerous duets and trios. With her performance Larina was the highlight of the evening.'
Giessener Anzeiger
www.giessener-anzeiger.de
Wuppertal Opera House - Don Giovanni - DONNA ANNA
Tatiana Larina sings Donna Anna with a brilliant soprano.
OMM
http://www.omm.de
Theater Pforzheim - Hoffmanns Erzählungen - OLYMPIA/ANTONIA/GIULIETTA
' Also Tatiana Larina gave an excellent performance. With her perfectly focussed soprano voice, in every range equally appealing, she brilliantly portrayed the three female parts. Olympia's sparkling coloraturas were lightly mastered even in the highest ranges. Her Antonia was sung with wonderfully emonional tones and aher Giulietta didn't lack a proper touch of vocal eroticism.'
Der Opernfreund
'With her high slit dress, which is just as daring as her vocal achievements, Olympia presents herself like a model on the catwalk. Tatiana Larina prooves to be a truely felxible soprano, accurate even in all the uncommon interval jumps. The slender woman with the luxuriant hair mane postures and with a clear voice she sings delicate words. Which is extrmely seducing... In the premiere cast Tatiana Larina gave all three female opera roles. In this way, she was also able to show her vocally sensitive side as Antonia in the second act and her vocal richness as the courtisan Giulietta in the third act :
Pforzheimer Zeitung
'Therefore, it is fitting that in the premiere all three female parts were sung by Tatiana Larina. An immense vocal challenge, which was excellently solved by the Georgian soprano: brilliant, needle-sharp in Olympia's coloraturas, with a flowing middle-range as Antonia and cooing as Giulietta.'
Badische Neueste Nachrichten
'In the premiere it was Tatiana Larina, with her brilliant coloratura soprano, who was vocally shone in all three roles.'
Leonberger Kreiszeitung
Theater Pforzheim - Cosi fan tutte - FIORDILIGO - November 2013
'...excellent: Tatiana Larina as Fiordiligi with a brilliant timbre, glowing also in the deeper mezzo registers.'
Pforzheimer Zeitung
International Music Festival in Chiemgau - Lucia di Lammermoor - LUCIA
'With her magnificent singing and her fascinating play, Tatiana Larina as Lucia brilliantly masters the challenging part .'
Stefan Ackermann - Klassik Heute
La Traviata - VIOLETTA - Vorarlberg Municipal Theatre - February 2013
'The star of the evening was tth Georgian soprano Tatiana Larina in the title role as the fraginle Violetta.'
Vorarlberg Online
' The Georgian Tatiana Larina in the title role is an ideal cast, credible in every stage of her transformation: as the passionate coquettish girl, as the lover - who comes to the point with Alfredo without hesitation -, as the angry woman asserting against the domination or as the dying lover arraying her final forces. She fully meets all vocal requirements of the part, with brilliant, perfect coloraturas and high peaks, bu also a wonderful, cultivated piano.'
Kulturzeitschrift
'The ensemble around the excellent Tatiana Larina in the title role is doing their best, but never reaches the protagonist.'
Der Standard
Don Giovanni - ZERLINA - Eutin Festival - August 2011
“...anyway the colorful mixture of outstandingly beautiful voices surely was impressive and reminds of former successes on Eutin's 'green hill'.
'Kinga Dobay's Donna Elvira and Tatiana Larina's Zerlina are Bel canto at its best. Both are enthusiastic actresses.“
Der neue Merker
 
 
 
SZENENFOTOS
Südostbayerische Städtetheater Passau/Landshut - La Straniera - ADELAIDE
 
Südostbayerische Städtetheater Passau/Landshut - La Straniera - ADELAIDE
 
Theater Pforzheim - GRÄFIN MARITZA - December 2013
 
International Music Festival in Chiemgau - Lucia di Lammermoor - LUCIA
 
International Music Festival in Chiemgau - Lucia di Lammermoor - LUCIA
 
Landestheater Vorarlberg - La Traviata - VIOLETTA
 
Landestheater Vorarlberg - La Traviata - VIOLETTA
 
Theater Pforzheim - Manon Lescaut - MANON
 
Theater Pforzheim - Manon Lescaut - MANON
 
Theater Pforzheim - Manon Lescaut - MANON
 
Eutiner Festspiele - Don Giovanni - ZERLINA