Oksana Volkova


Minsk born mezzo-soprano Oksana Volkova graduated from the Belarusian State Academy of Music, where she studied with prof. Lidia Galushkina. Oksana has won many national and international singing competitions including the first prize at the XXII International M. Glinka Competition.

Upcoming engagements include Oksana’s debut at the Opéra National de Paris as Sonyetka in Lady Macbeth of Mtensk. She will also return to the Bolshoi Theatre for Carmen, Pique Dame, The Tsar’s Bride and The Stone Guest under Tugan Sokhiev, plus Verdi Requiem under Andris Nelsons and the Boston Symphony Orchestra at the 2019 Tanglewood Festival.

Highlights of the 2017/18 season included her debut at the Salzburg Festival debut under Mariss Jansons in Pique Dame (Polina), Les contes d’Hoffmann (Giulietta) at the Metropolitan Opera and Olga (Eugene Onegin) at Staatsoper Hamburg. She also made her house debut at Grand-Théâtre de Genève as Santuzza (Cavalleria Rusticana) and returned to the Bolshoi Theatre in Carmen (title role), Pique Dame (Polina) and The Stone Guest (Laura).


Performance Schedule

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    14:30 22 Apr 2019 Opera Bastille, PARIS

    DMITRI SHOSTAKOVICH Lady Macbeth of the Mtsensk District

    Boris Timofeevich Ismailov: Dmitry Ulyanov
    Zinovy Borisovich Ismailov: John Daszak
    Katerina Lvovna Ismailova: Aušrinė Stundytė
    Serguei: Pavel Cernoch
    Le Chef de la police, le Vieux bagnard: Alexander Tsymbalyuk
    Le Balourd miteux: Wolfgang Ablinger-sperrhacke
    Un Officier: Sava Vemic
    Le Régisseur: Florent Mbia
    Le Cocher: John Bernard
    Le Meunier: Jian-hong Zhao
    Un Invité ivre :: Fernando Velasquez

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    19:30 25 Apr 2019 Opera Bastille, PARIS

    DMITRI SHOSTAKOVICH Lady Macbeth of the Mtsensk District

    Boris Timofeevich Ismailov: Dmitry Ulyanov
    Zinovy Borisovich Ismailov: John Daszak
    Katerina Lvovna Ismailova: Aušrinė Stundytė
    Serguei: Pavel Cernoch
    Le Chef de la police, le Vieux bagnard: Alexander Tsymbalyuk
    Le Balourd miteux: Wolfgang Ablinger-sperrhacke
    Un Officier: Sava Vemic
    Le Régisseur: Florent Mbia
    Le Cocher: John Bernard
    Le Meunier: Jian-hong Zhao
    Un Invité ivre :: Fernando Velasquez


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    Verdi: Rigoletto

    Label: Delos

    Release Date: 01 Dec 17

    Conductor: Constantine Orbelian
    Rigoletto: Dmitri Hvorostovsky
    Gilda: Nadine Sierra
    Duke of Mantua: Francesco Demuro
    Sparafucille: Andrea Mastroni
    Maddalena: OKSANA VOLKOVA
    Kaunas City Symphony Orchestra

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    Verdi: Rigoletto - Live in HD (DVD) - Metropolitan Opera

    Label: Deutsche Grammophon

    Release Date: 28 May 13

    Conductor: Michele Mariotti
    Director: Michael Mayer
    Artists: Piotr Beczala, Zeljko Lucic, Diana Damrau, Oksana Volkova, Stefan Kocan
    The Metropolitan Opera Orchestra and Chorus

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    Tchaikovsky: Eugene Onegin Live in HD (DVD)

    Label: Deutsche Grammophon

    Release Date: 04 Mar 14

    <div>Conductor: Valery Gergiev</div><div>Anna Netrebko<br></div><div>Mariusz Kwiecien</div><div>Piotr Beczala</div><div>Oksana Volkova</div><div>Larissa Diadkova<br></div><div><br></div><div>Metropolitan Opera Orchestra</div><div>Metropolitan Opera Chorus</div><div><br></div>

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    TCHAIKOVSKY: Pique Dame

    Label: BR Klassik

    Release Date: 28 Aug 15

    Live-Recording, Munich, Philharmonie, October 2014<div><br></div><div>Conductor: Mariss Jansons</div><div>Misha Didyk (Hermann/Herman)</div><div>Tatiana Serjan (Lisa)</div><div>Larissa Diadkova (Grafin/Countess)</div><div>Alexey Shishlyaev (Graf Tomskij/Count Tomsky, Slatogor)</div><div>Alexey Markov (Furst Jeletzkij/ Prince Yeletsky)</div><div>Oksana Volkova (Polina/Milovsor)</div>

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    05 Aug 18 Tchaikovsky Pique Dame
    Salzburg Festival

    “Oksana Volkova offered warm plum tones as Polina.”

    Mark Pullinger, Bachtrack, 11 August 2018

    “Oksana Volkova sticht als sonore Polina”

    “Oksana Volkova stands out as a sonorous Polina”

    Michael Wruss, OÖNachrichten, 07 August 2018

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    06 Jan 18 BIZET Carmen
    Latvian National Opera

    “Latvian National Opera’s unique twist on Bizet’s magnificent opera starred Oksana Volkova; mesmerising with her rich mezzo voice which possesses all the haunting seduction and attitude of Carmens gone by.”
    Kiara Argenta, Latvian National Opera

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    08 Dec 17 VERDI Rigoletto
    Sierra, Volkova, Demuro, Hvorostovsky, Mastroni, Kaunas State Choir, Kaunas City Symphony Orchestra, Orbelian (Delos)

    “Oksana Volkova’s ripe mezzo makes her Maddalena aurally embody carnality.”
    Fred Cohn,

    “As Maddalena, Oksana Volkova brings vocal allure, making her both a match and contrast for Mastroni’s suave but brusque Sparafucile.”
    David Salazar,

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    16 Oct 16 Bizet Carmen
    Teatru Aurora, Malta

    ‘Oksana Volkova’s Carmen at the Aurora Opera House was the best I have seen since Christa Ludwig’s to Domingo’s José in Vienna some 40 years ago. She has it all: an absolute command of the stage, a richly seductive and polychromatic voice, her sinuous and voluptuous physique yet never vulgar mien, the never-changing fiery, free spirit which underlines the role, evident when she emerged from the cigarette factory. It was a superbly unforgettable experience which will be regretted no end by those who missed it . The audience was hers from the start. To think that Volkova was an almost last-minute replacement for the mezzo-soprano originally cast for the role and who fell ill. To think too, that for a number of days rehearsals had to go on without a mezzo-soprano. Yet there was no trace of that because the interaction between Oksana Volkova and the rest of the cast was as smooth as could be.’
    Albert Storace, Times of Malta

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    20 Dec 15 Tchaikovsky Eugene Onegin
    Royal Opera House, Covent Garden

    ‘Oksana Volkova’s ripe mezzo gave us a real shot of vodka as Olga, flirting outrageously with Hvorostovsky’s Onegin at the ball to fire Lensky’s jealousy.’
    Mark Pullinger, Bachtrack

    ‘Oksana Volkova also makes her ROH debut as Olga, and her mezzo-soprano proves rich and full’
    Sam Smith, Music OMH 

    ‘Oksana Volkova was a dark voiced, yet lively Olga, clearly very much a party animal.’
    Robert Hugill, Planet Hugill

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    12 Jun 15 Mascagni Cavalleria Rusticana
    Teatro alla Scala

    ‘Riesce ad ottenere un successo personale anche  Oksana Volkova (Lola), dotata di una voce che sa essere sensuale e pungente allo stesso tempo, con fraseggio chiaro e ricercato che ben esprime la figura di una donna frivola e leggera.’
    Francesco Castelli, GB Opera 

    ‘Seducătoarea Lola, mezzosoprana din Belarus Oksana Volkova, a arătat aşa cum trebuie, „femme-fatale” şi a expus un glas frumos colorat şi senzual.’
    Costin Popa, Bloguri

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    30 Oct 15 Bizet Carmen
    Salzburg Landestheater

    ‘Die junge Russin Oksana Volkova kann nicht nur unendlich lange Beine ins Treffen führen – die Bürosessel-Nummer hat was, mit der sie Don José rumkriegt. Die Vorzüge dieser Mezzosopranistin aus Weißrussland liegen im samtweichen Timbre’
    Traunsteiner Tagblatt

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    10 Nov 14 Shostakovitch Lady Macbeth of Mtensk
    Metropolitan Opera, New York

    “Oksana Volkova as Sonyetka brought a husky and seductive tone to her characterization.”
    Chris Browner, Columbia Spectator

    “But in a cast where everyone stands out, Very, Mikhail Kolelishvili as the priest, Vladimir Ognovenko, Dimitry Belosselskiy and Oksana Volkova as Sonyetka, a saucy convict who catches Sergei’s ceaselessly roving eye, demand mention.”
    David Finkle, Huffington Post 

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    26 Apr 14 Verdi Rigoletto
    Bayerische Staatsoper
    “Erwähnenswert ist zudem die starke Maddalena und Giovana von Oksana Volkova, die im dramatischen Ah, Più Non Ragiono des dritten Aktes Eindruck hinterlässt.”

    Andreas M. Bräu for

    “De Wit-Russische mezzo Oksana Volkova vertolkte Gilda’s verzorgster Giovanna en Maddalena. Het verschil in uitmonstering was zo groot dat ik haar aanvankelijk niet herkende toen ze in de derde akte opkwam. Haar prachtige lage stem kwam in het reeds genoemde kwartet uitstekend tot zijn recht.”
    Peter Franken for 

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    20 Sep 13 Tchaikovsky Eugen Onegin
    Metropolitan Opera New York

    “Oskana Volkova proved to be a fine Olga. She radiated with energy from her first entrance and throughout the ball scene. In early scenes she jested with the timid Tatiana and pranced about as Lenski flirted with her. The character’s happy-go-lucky nature matched perfectly with Kwiecien’s relaxed temperament in the early acts and contrasted well with the more introspective Netrebko and Bezcala. The lower range of her voice shone brilliantly at the end of the character’s brief aria.”
    David Salazar, Latinos Post 

    “Most of the cast excels, especially Oksana Volkova as Tatiana’s sister Olga and Piotr Beczala as her fiancé, and Onegin’s friend and later enemy, Lenski. Both sang vibrantly and effortlessly and they were completely in character, with no sense that they were self-conscious about performing.”
    George Grella New York Classical Review

    “Most memorable in supporting roles were Oksana Volkova, who contributed a plummy mezzo-soprano as Olga”
    Ronni Reich, The Star Ledger

    “Oksana Volkova as a cheery, appealing Olga.”
    Anne Midgette, Washington Post 

    “Oksana Volkova contributed a hyper-vivacious Olga”
    Martin Bernheimer, Financial Times 

    “Oksana Volkova was a pert, lively Olga”
    Heidi Waleson, Wall Street Journal

    “Olga (the strong mezzo-soprano Oksana Volkova)”
    Anthony Tommasini New York Times

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    02 May 13 Bizet Carmen
    Teatro Colon Buenos Aires

    “Con Volkova todo cambió. Poseedora de una voz muy bella, aterciopelada y homogénea–típicamente rusa- tiene asimismo una muy buena técnica y una impecable musicalidad. Tiene también idea de quién es Carmen. Bastante buena actriz y dueña de una inquietante sensualidad, terminó cautivando al público. Exceptuando a Bumbry, Crespin y Uria Monzon es la mejor Carmen que haya visto en el Colón.”
    Roberto Luis Blanco Villalba, Opera Club

    “Volkova  quien es una especialista en el papel llevó adelante un trabajo digno de destacar, un ejercicio analítico de su voz nos devuelve firmeza en las notas graves y vibrato seguro con un tono sombrío y natural a lo que debemos sumarle una pareja emisión. Volkova sumó a su cantó una acertada actuación que conjugó provocativa seducción, conocimiento del poder que ejerce sobre los demás personajes y seguridad escénica en cada pasaje. “Habanera”, la sencilla y provocativa melodía que Bizet reservó para Carmen es su carta de presentación: describe un carácter fuerte e indomable que Volkova encarnó a la perfección, sus líneas vocales exaltaron a lo largo de toda la ópera los más oscuros y temperamentales sentimientos de la gitana.”
    Alejandro César Villarreal, Opera World 

    “La mezzosoprano bielorrusa Oksana Volkova fue en un principio contratada para las funciones principales y se la desplazó, sin que se diera ninguna explicación, a las dos funciones extraordinarias. Una verdadera injusticia con la artista y un fiasco para los abonados que tuvieron que conformarse con una protagonista sin nivel. Volkova es Carmen. Con adecuada seducción y convicción actoral. Con muy buen francés, inmaculada línea de canto, belleza vocal, y graves verdaderos, sedujo al público que colmó la sala de la calle Libertad. A su lado fue un placer escuchar a Enrique Folger como Don José. Varonil, aplomado y seductor logró sortear con éxito todas las dificultades de la partitura. La amalgama de ambos protagonistas fue perfecta y brindaron una actuación de primer orden, brillante y creíble.”
    Gustavo Gabriel Otero, Mundo Clasico 

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    28 Jan 13 Verdi Rigoletto
    Metropolitan Opera New York

    “Maddalena (Oksana Volkova, a strong, rich mezzo-soprano in her Met debut)”

    Anthony Tommasini for New York Times

    “…and Oksana Volkova, a supple mezzo, lend strong support as his whorish sister.”

    Joe Dziemianowicz for New York Daily News

    “Oksana Volkova sings well and vamps and sways predictably as a tiki-lounge-style Maddalena—in this show”

    Marion Lignana Rosenberg for Classical Review

    “Oksana Volkova vamps earnestly as his hooker-sister.”

    Martin Bernheimer for Financial Times

    “…and Oksana Volkova a seductive Maddalena.”

    Roland Bloom for San Francisco Gate

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    01 Sep 11 Damnation de Faust (Berlioz), September 2011
    Nice Opera
    “Pour le Chef et la Mezzo
    Tant de chaleur, tant de noblesse… La tessiture exacte du rôle de Marguerite avec en prime un facteur essentiel : la fragilité.”

    arts-spectacles, September 2011

    “Quant à Oksana Volkova, elle mène cette lamentation métaphorique d’une voix puissante,  sensible. C’est sans faute le plus beau duo de la soirée.”

    Les critiques de La Harpe, September 2011

    “Membre de la troupe du célèbre Théâtre Bolchoï de Moscou, la mezzo russe Oksana Volkova est une révélation. Dotée d’une plastique de rêve (elle fait penser immédiatement à sa célèbre consœur et compatriote Anna Netrebko), elle interprète une Marguerite d’une incomparable intensité, à la fois douce et radieuse; son mezzo de velours donne un sens à chaque mot, mais la voix est aussi d’une belle ampleur, dotée de graves profonds et sa prononciation du français excellente – fait suffisamment rare chez les chanteuses russes pour être souligné. Elle délivre une «Ballade du roi de Thulé» mais surtout le fameux air «D’amour, l’ardente flamme» avec une maîtrise qui suscite l’admiration au regard de son jeune âge et il n’y a guère que le manque de stabilité de son registre medium que l’on pourra lui reprocher. Une belle découvert”

    Emmanuel Andrieu for, September 2011

    “Révélation d’Oksana Volkova dans l’œuvre de Berlioz à l’Opéra de Nice
    Mais venons-en à ce qui a constitué incontestablement la vraie révélation de la soirée, la Marguerite d’Oksana Volkova, mezzo soprano russe en troupe au Bolchoï de Moscou. Physiquement très belle, cette jeune artiste a fait l’unanimité par ses qualités de musicienne, sa sensibilité interprétative, la magnifique couleur de son timbre, et la perfection de tous ses registres sur l’ensemble de sa tessiture. On rêve à ce qu’elle pourrait être en Dalila (à cet égard, elle chante un extrait significatif en concert que l’on peut voir sur internet). Rien d’étonnant à ce que le Metropolitan Opera de New-York l’accueille dès cette saison. Un nom à retenir et une carrière à suivre !”

    Christian Jarniat for, September 2011


Operatic Repertoire

Carmen title role

La damnation de Faust Marguerite

Prince Igor Konchakovna

The Stone Guest Laura

Anna Bolena Giovanna Seymour
Roberto Daveraux Sara, Duchess of Nottingham
Maria Stuarda Anna Kennedy

Cavalleria rusticana Santuzza, Lola

Werther Charlotte

Boris Godunov Marina Mnischek
Khovanshchina Marfa

The Tales of Hoffmann Giulietta

Madama Butterfly Suzuki

La Gioconda Laura

The Tsar’s Bride Lyubasha
Kashey the Immortal Kasheevna
May Night Ganna

Samson and Delilah Delilah

Lady Macbeth of Mtsensk Sonetka

Eugene Onegin Olga
Pique Dame Polina and Milovzor

Nabucco Fenena
Aida Amneris
Don Carlo Eboli
La forza del destino Preziozilla


Norma Adalgisa

La Favorite Leonora di Gusmann

Samson and Dalilah Dalilah


Mozart Requiem
Verdi Requiem
Tchaikovsky Moscow Cantata
Prokofiev ‘Alexander Nevsky’