Ekaterina Siurina

Ekaterina made her role debut as Mimi in Richard Jones’ production of La bohème at the Royal Opera House in June 2018. Forthcoming she will sing Gilda Rigoletto at the Theatre des Champs Elysees and Philharmonie Luxembourg, and Violetta La Traviata for the Wiener Staatsoper.  Future roles include Iolanta, Tatiana, Amelia Grimaldi and Alice Ford.

© David Elofer


Established as one of the leading sopranos of her generation, Ekaterina Siurina performs at many of the top opera houses across the world including the Royal Opera House Covent Garden, Wiener Staatsoper, Deutsche Staatsoper Berlin, Opera de Paris and Metropolitan Opera.

Her prominent roles to date include Gilda Rigoletto, Ilia Idomeneo, Ann Trulove The Rake’s Progress, Adina L’elisir d’amore, Leila The Pearl Fishers, Amina La Sonnambula and Giulietta I Capuleti e i Montecchi. Her recordings include her debut solo recital disc Amore e Morte featuring songs by Verdi, Bellini, Donizetti and Rossini, accompanied by Iain Burnside. Ekaterina also features on the Rachmaninov Songs disc available on Delphian Records.


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    Medtner Songs

    Label: Delphian

    Release Date: 16 Feb 18

    Ekaterina Siurina

    Justina Gringyte

    Oleksiy Palchykov

    Robin Tritschler

    Rodion Pogossov

    Nikolay Didenko

    Iain Burnside

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    Rachmaninov Songs

    Label: Delphian

    Release Date: 10 Mar 14

    Evelina Dobraceva
    Ekaterina Siurina
    Justina Gringyte
    Daniil Shtoda
    Andrei Bondarenko
    Rodion Pogossov
    Alexander Vinogradov
    Iain Burnside

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    Amore e morte

    Label: Opus Arte

    Release Date: 30 Sep 13

    Ekaterina celebrates the song-writing talents of four great composers better known for their operas in a recital of flirtatious, passionate and grief-stricken lovers plighting their troths in such cities as Naples, Florence and Venice.

    Soprano: Ekaterina Siurina
    Piano: Iain Burnside

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    PUCCINI Il trittico

    Label: Opus Arte

    Release Date: 05 Oct 11

    Conductor: Antonio Pappano
    Director: Richard Jones

    Il Tabarro
    Michele: Lucio Gallo
    Giorgetta: Eva-Maria Westbroek
    Luigi: Aleksandrs Antonenko

    Suor Angelica
    Sister Angelica: Ermonela Jaho
    The Princess: Anna Larsson

    Gianni Schicchi
    Gianni Schicchi: Lucio Gallo
    Rinuccio: Francesco Demuro
    Lauretta: Ekaterina Siurina

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    MOZART Don Giovanni

    Label: Unitel Classica

    Release Date: 01 Aug 08

    Conductor: Bertrand De Billy
    Director: Claus Guth

    Anatoli Kotscherga
    Annette Dasch
    Christopher Maltman
    Dorothea Roeschmann
    Erwin Schrott
    Ekaterina Siurina

    Wiener Philharmoniker

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    A Mozart Gala from Salzburg

    Label: Deutsche Grammophon

    Release Date: 01 Aug 08

    Conductor: Daniel Harding
    Director: Brian large

    Anna Netrebko
    Magdalena Kozená
    Patricia Petibon
    Ekaterina Siurina
    Michael Schade
    Thomas HampsonRené Pape

    Wiener Philharmoniker

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    MOZART Idomeneo

    Label: Universal Classics & Jazz

    Release Date: 09 Mar 07

    Conductor: Sir Roger Norrington
    Director: Ursel Herrmann and Karl-Ernst Herrman

    Ramon Varas
    Magdalena Kozena
    Ekaterina Siurina
    Anja Harteros
    Jeffrey Francis

    Camerata Salzburg

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    MOZART La Clemenza di Tito

    Label: Opus Arte

    Release Date: 08 Sep 05

    Conductor: Sylvain Cambreling
    Stage Director: Ursel Herrmann and Karl-Ernst Herrmann

    Sesto: Susan Graham
    Annio: Hannah Esther Minutillo
    Vitellia: Catherine Naglestad
    Servilia: Ekaterina Siurina
    Publio: Roland Bracht
    Tito: Christoph Prégardien

    Chorus and Orchestra of the Opéra national de Paris

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    16 Jan 18 REVIEW: Don Giovanni Bachtrack
    Wiener Staatsoper

    “Donna Anna is no role for the fainthearted and although diminutive in stature, Ekaterina Siurina brought dignity and formidable vocal prowess to the part … “Non mi dir” was refulgent with a beautifully pitched piano B flat fermata on “abbastanza” and pristine semiquaver roulades.”

    Jonathan Sutherland, Bachtrack, 16 January 2018

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    25 May 18 Beethoven Symphony No. 9
    National Concert Hall Dublin

    “Ekaterina Siurina’s lilting soprano uplifted spirits”
    Michael Roddy, Bachtrack, 26 May 2018

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    21 Apr 18 DONIZETTI L'elisir d'amore (Adina)
    Pittsburgh Opera

    “Ekaterina Siurina’s performance as Adina – the object of the lead males’ affections – was strong … Ms Siurina as Adina demonstrated quantifiable and visible character growth, moving from passively coquettish to assertively in love. Heartwarming, and well-acted – her duet with Mr. Pecchioli in the second act was the vocal and dramatic high point of the evening.”
    Jeremy Reynolds, Pittsburgh Post-Gazette, 22 April 2018


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    19 Apr 18 CD REVIEW: Nikolai MEDTNER Songs Delphian Records
    Music Web International

    “Finally, soprano Ekaterina Siurina has considerable vocal charm and allure, with a piercing sweetness when the line lies just right for her, bringing a sort of Russian reminiscence of Gundula Janowitz.”

    Roy Westbrook, MusicWeb International, 19 April 2018

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    16 Mar 16 Rosenblatt Recitals, Luis Gomes and Iain Burnside
    Wigmore Hall

    “Ekaterina Siurina sang a group of songs by Rossini, Bellini and Donizetti, works written more for the parlour or the salon than the opera house. Rossini’s La pastorella dell’Alpi gave Siurina a chance to show off her flexibility in coloratura, whilst charming and delighting us. Bellini’s Malinconia, ninfa gentile was sung with fuller tone, and a vibrant sense of line, and in Donizetti’s A mezzanotte she sang with really affecting tone.”
    Robert Hugill, Planet Hugill, 16 March 2016

    “Part two opened with Ekaterina Siurina’s affectingly plangent account of Me voila seule dans la nuit from Bizet’s Les pecheurs de perles, in which her confident coloratura was combined with a nice sense of style and strong tone, sung in creditable French.”

    “Siurina’s voice, at least in the confines of the Wigmore Hall, is a huge instrument and extremely forceful. Beginning with the lovely Cherry Duet “Suzel, buon dì” from L’amico Fritz, she demonstrated a natural affinity with verismo which was reinforced in the scene from Bohème; a lyrical whimsy and immediacy had an strong impact. In the very different repertoire of songs from the bel canto composers, she was entirely secure. In Rossini’s salon song La pastorella dell’Alpi, Siurina gave a dazzling display of coloratura, entirely flexible and with firm high notes that were never colourless…”
    Dominic Lowe, Bach Track, 17 March 2016

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    15 Jan 16 BIZET Pearlfishers (Leila)
    Sydney Opera House

    “Ekaterina Siurina as Leila has a voice of open ease and fluency and an attractive sound of roundly-focussed clarity and colour in every part of the range.”
    Peter McCallum, The Sydney Morning Herald, 17 January 2016

    “The most outstanding performer on opening night was clearly that of Ekaterina Siurina, as Leila…”

    Tom Pillans, Daily Telegraph, 18 January 2016

    “Ekaterina Siurina is excellent at the centre of this love triangle, giving a full-blooded and dignified reading of the character…she reveals extraordinary technique and control as the performance goes on, tackling all of Bizet’s vocal runs brilliantly.”
    Ben Neutze, Daily Review, 18 January 2016

    “The vocal star of the show was Russian soprano Ekaterina Siurina
    (Leila). Strong and agile across her tessitura, she sustained an even,
    focused tone while astutely infusing it with subtle dynamic shading and
    nuanced colours.”
    Murray Black, The Australian, 18 January 2016

    “From the moment she sings her first note, Siurina reflects her rigorous Russian training. With supreme confidence, she performs the role of the goddess Léïla, whose songs will protect the pearl divers in their hazardous occupation, while also conveying the passion of a mortal woman deeply in love.”
    Irina Dunn, Altmedia, 21 January 2016

    “Siurina has a stunning clear pure soprano with the tenderness of a woman in love and the desperation to save Nadir.”
    Jade Kops, Broadway World, 21 January 2016

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    08 Oct 15 VERDI La Traviata (Violetta)
    Canadian Opera Company

    “Ekaterina Siurina and Charles Castronovo, married in real life, made a convincing pair of lovers….the pathos of Act 3 was palpable and her tone was always pure. There was a touching exhibition of bel canto when the reunited couple agreed…”
    Arthur Kaptainis, National Post, 9 October 2015

    “…she used her perfect diction and fine pitch control to bring her vocal character down to our level, where her sound and acting co-existed in solid balance. Siurina could soar when necessary, and provide beautiful tone throughout her range…”
    Robert Harris, The Globe and Mail, 9 October 2015

    …”the luminous performance of Ekaterina Siurina…”
    Richard Ouzounian, The Star, 14 October 2015

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    17 Jun 15 VERDI Rigoletto (Gilda)
    Wiener Staatsoper

    “Ekaterina Siurina portrayed a sweet…Gilda… she stood comfortably in Act I’s “Caro nome” (“Dearest name”) with delightful trills and an easy flexibility through the scales”.
    Paul Selar, Bach Track, 26 June 2015

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    10 Mar 14 Rachmaninov Songs
    Delphian Records

    “Ekaterina Siurina’s sweet soprano comes into its own in the Op 38 set, while she and Vinogradov make something special of Two Farewells.”

    Hugh Canning, The Sunday Times, 23 March 2014
    “But the early songs have their own power, and Oh Do Not Sing and Spring Waters have justly become classics of the repertoire. They are both attached with fervour here by Siurina and the wirier Vishnevskaya-like Evelina Dobraceva respectively.”

    Rupert Christiansen, The Telegraph, 27 Feb 2014
    “The two soprano’s are top note perfect: Ekaterina Siurina, who shows surprising grit in the final sequence composed for the great Nina Koshetz, and the more heroic Evelina Dobraceva.”

    David Nice, BBC Music Magazine, 16 April 2014
    “Siurina is also assigned the six Koshetz songs, Op 38, a set that shows how far Rachmaninov had come stylistically since the echoes of Tchaikovsky in his earliest songs, and she sings them strongly but with lovely mystic touches that point to the poetry’s alliances with Symbolism.”

    Gramophone Magazine, April 24 2014
    “The two sopranos, Ekaterina Siurina and Evelina Dobraceva, are sharply contrasted, the first light and lyric, the second more dramatic.”

    Andrew Clements, The Guardian, 24 April 2014

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    18 Feb 13 BELLINI I Capuleti e i Montecchi
    Bayerische Staatsoper

    “München – ‘Vergesst Shakespeare’ müsste man bei Vincenzo Bellinis Oper ‘I Capuleti e i Montecchi’ sagen, denn erst die Schlussszene zeigt das tragische Paar der verfeindeten Familien so, wie wir das kennen. Wenn jetzt im Nationaltheater als Romeo erstmals Joyce DiDonato auf Ekaterina Siurina als Julia trifft, dann erleben wir Belcanto pur: Hier der herbe, fein vibrierende Mezzo und eine Frau, die raffiniert und sehr präsent eine draufgängerische Jungmännerrolle spielt, dort der wunderbar gehaltvolle, herrlich phrasierende Sopran und das hinreißende Spiel der Russin als von Lebensangst und Depression beinahe zerfressenem Mädchen, das von seiner Liebe am Ende getötet wird.”, 20 February 2013

    “Ihr sopranist klar konturiert schimmert wie edles Porzellan und füllt trotz aller mädchenhaftigkeit locker das Nationaltheater.”
    Gabriele Luster,Tageszeitung, 20 February 2013

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    02 Dec 13 Amore e morte
    Rosenblatt Recital Disc

    “I am emerging from the Wagner and Verdi year of 2013 very sick of Verdi. It’s not his fault. It’s that 95 percent of the celebrations revolved around Verdi. Not only does Wagner involve challenges and controversy, but Verdi wrote a million operas while Wagner wrote, what, 12? That’s why I laughed when WNED-FM began its yearlong toast to the two composers, working its way through both composers’ output with an opera every week. Guess who got the lion’s share of that? All this actually adds up to a compliment to this album because it has a load of Verdi, and I couldn’t believe that I liked it. Ekaterina Siurina, a soprano with a most pleasant and smooth voice, is actually singing not arias but art songs, not only by Verdi but by Donizetti and Bellini. Iain Burnside accompanies her on piano. (He is really an accompanist, playing quietly and discreetly.) The simple setting plays up the bel canto grace of the writing. You begin to hear how these composers were influenced by Mozart, and what Chopin saw in their melodies. It’s also fascinating to contrast the songs with the composers’ arias, which are much better known. Altogether, a surprising and diverting adventure. This recital is courtesy of Rosenblatt Recitals, described as “the only major operatic recital series in the world.”

    Mary Kunz Goldman, Buffalo News, 02 Jan 2014

    “Ekaterina Siurina has the type of soprano voice that’s perfect for sweet soubrette roles: compact, pure and agile, yet with presence and color in its lower range. On a recording of songs by bel canto composers Verdi, Rossini, Bellini and Donizetti, she plays both within and beyond expectations and also shows a particular flair for folk-inflected works.

    Verdi’s Violetta comes to mind in his “Stornello” as she sings of being free from love and commitment. In his aria-like “Perduta ho la pace,” she comes across as a tragedienne, a role often reserved for fuller voices.

    Siurina also offers a vivid interpretation of Donizetti’s sailor song “Amor Marinaro,” capturing the seaside lilt as well as the speaker’s fervor. Her ease and sense of character in Rossini’s “La pastorella dell’Alpi,” which has yodel-like leaps, charms. So does her embodiment of a blissful chimney sweep in Verdi’s “Lo Spazzocamino” and a gypsy in Donizetti’s “La Zingara.

    Throughout, pianist Iain Burnside provides lively accompaniment, mirroring the texts’ varied shades of tremulousness, calm, passion and joy.”

    Ronni Reich, New, 10 January 2014

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    16 Apr 13 MOZART Die Zauberflote
    Royal Opera House, Covent Garden

    “But this time round the show is strongly cast. Indeed, I can’t remember for a long time hearing a Pamina as radiant, ripe and vocally expressive as that of Ekaterina Siurina. Her shaping and colouring of Ach, ich fühl’s is breathtaking; her cry of Tamino mein! heart-stopping.”

    Hilary Finch, The Times, 17 April 2013

    “The cast was uniformly excellent…Pamina is the more youthful and energetic character, leading the musical conversation to new keys.”
    Hannah Sander, Classical Source, 17 April 2013

    “Just as impressive, in their totally different style, were the pairing of Charles Castronovo and Ekaterina Siurina as Tamino and Pamina. Castronovo brought a rather Italianate languid nobility to the role – an Enlightenment prince, perhaps, rather than a fairytale one – and both he and Siurina sang with immense lyricism and belief.”
    David Karlin, Bachtrack, 17 April 2013

    “There are other excellent reasons to see it, too. Russian singer Ekaterina Siurina steps up to the pinnacle of A-list Mozartian sopranos with her performance as heroine Pamina. Her gleaming sound, flawless technique and energetic acting are worth the price of a ticket alone.”
    Warwick Thompson, The Metro, 18 April 2013

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    29 Nov 12 MOZART Don Giovanni
    Metropolitan Opera, New York

    “Ekaterina Siurina was delectable in every way as Zerlina. She, too, sidestepped the modern clichés that make her character a conniving minx instead of a flawed but good-hearted country girl. Her voice only really bloomed in the highest reaches of the role, but she seemed genuinely torn in Là ci darem la mano and brought sweetness and warmth to Vedrai, carino.”
    Marion Rosenberg, The Classical Review, 29 Nov 2012

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    11 Apr 12 VERDI Rigoletto
    Royal Opera House, London

    “Ekaterina Siurina has all the right vocal makeup for Gilda. Most Gildas deliver on the innocence and so does Siurina but she also delivers on the pain. Verdi gives us in music an innocent young woman to whom maturity costs agony. Every step of this painful journey has been carefully measured by Ekaterina Siurina, making her one of the most impressive Gildas on today’s scene.”
    Jack Buckley, Seen and Heard, 18 April 2012

    “Ekaterina Siurina (Gilda) manages this delicate balance with some aplomb: “Caro nome” offered agility and amplitude, the cadenza technically terrific and rapturous.”
    Edward Seckerson, The Independent, 31 March 2012

    “Ekaterina Siurina brings delicate focus to his daughter, Gilda…”
    John Allison, The Telegraph, 11 Apr 2012

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    01 Jun 11 DONIZETTI Don Pasquale
    Washignton National Opera

    “…Siurina is the perfect bel canto heroine, her many arpeggios crisp and bright…”

    The Washington Examiner, June 201

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    17 Aug 10 MOZART The Magic Flute
    Santa Fe Opera

    “Ekaterina Siurina made a spectacular company debut as Pamina. The Siberian soprano’s voice is so well suited to the heroine’s music that Mozart could have written it with her in mind. Rarely will one experience such a wedding of voice to character, with Siurina’s purity of tone and gleaming vocalism spoiling audience members for all future Magic Flute productions. The soprano rose to the challenge of Ach, ich fuhls in remarkable fashion, singing this torturous aria with refined expression and ravishing pianissimos, earning her an ovation that nearly stopped the show. Her charming Russian-accented English dialogue was irresistible as well…”
    Lawrance Johnson, The Classical Review, 17 August 2010

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    26 Oct 09 DONIZETTI Elisir d'Amore
    Houston Grand Opera

    “Siurina’s enchanting Adina is everything this pert minx should be. She’s mischievous, capricious, womanly yet with a warmth and tenderheartedness just waiting to be tapped. Her voice is warm and supple, ringing with bell-like brightness in its upper range yet always mellow. Her peak is Act 2’s realization of how much Nemorino has sacrificed for her, which finally melts her heart. She sings/acts this scene so exquisitely that yours will melt a little too.”
    Houston Chronicle, 26th October 2009



BELLINI I Capuleti e i Montecchi (Giulietta)
BELLINI I Puritani (Elvira)
BELLINI La Sonnambula (Amina)
BIZET Carmen (Micaëla)
BIZET Les Pecheurs de Perles (Leila)
DONIZETTI L’elisir d’amore (Adina)
DONIZETTI Don Pasquale (Norina)
GLINKA Ruslan and Lyudmila
GLUCK Orfeo et Euridice (Euridice)
GOUNDOD Romeo et Juliette
HANDEL Alcina (Morgana)
HANDEL Giulio Cesare (Cleopatre)
HANDEL Ariodante (Ginevra)
MOZART Clemenza di tito (Servilia)
MOZART Don Giovanni (Donna Anna)
MOZART Idomeneo (Ilia)
MOZART Die Zauberflöte (Pamina)
MOZART Lucio Silla (Giunia)
MOZART Le Nozze di Figaro (Susanna)
OFFENBACH Les Contes de Hoffmann (Antonia)
PUCCINI La bohème (Mimi)
PUCCINI Gianni Schicchi
PUCCINI Turandot (Liu)
STRAVINSKY The Rake’s Progress
VERDI Rigoletto (Gilda)
VERDI Falstaff (Nannetta)
VERDI La Traviata (Violetta)


BACH B Minor Mass
BEETHOVEN Missa Solemnis
BRAHMS Requiem
FAURE Requiem
MAHLER Symphony No. 2 & 4
MONTEVERDI Il Vespro della Beata Vergine
MOZART C Minor Mass
MOZART Requiem
MOZART Exultate Jubilate
ORFF Carmina Burana
PERGOLESI Stabat Mater
ROSSINI Petite Messe Solenelle
ROSSINI Stabat Mater
SCHUBERT Mass in A flat


Read the interview on what its like to work with your husband with Ekaterina Siurina and tenor Charles Castronovo ahead of their appearance at the Royal Opera House, Covent Garden as Pamina and Tamino in The Magic Flute.
Clare Colvin, The Sunday Express, 31 March 2013

Read the interview with Ekaterina Siuirna prior to her house debut at the Houston Grand Opera, as Adina in Elisir d’Amore.
Everett Evans, The Houston Chronicle, October 23 2009