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A native of Kiev, Liudmyla Monastyrska made her stage debut at the Ukraine National Opera in Kiev as Tatiana in Tchaikovsky’s "Eugene Onegin" in 1996. Having graduated from the Kiev Tchaikovsky Music Academy she became principal soloist of the Ukraine National Opera two years later. She has since appeared in leading dramatic soprano roles such as Aïda, Amelia, Gioconda, Lisa, Nedda and Santuzza at the Ukraine National Opera and the Mikhailovsky Theatre in St. Petersburg. In 2010 Ms. Monastyrska made a highly acclaimed last-minute debut at Deutsche Oper Berlin as Tosca—a role that immediately led to her much-heralded Italian debut at the Puccini Festival in Torre del Lago under the baton of Alberto Veronesi. Having made a sensational debut as Lady Macbeth at the Royal Opera House, Covent Garden in 2011, Ms. Monastyrska returns there in the 2012-2013 season as Verdi’s Abigaille opposite the Nabucco of Plácido Domingo, under the baton of Nicola Luisotti—in a new production by Daniele Abbado in which she also appears at La Scala. The Ukrainian soprano makes her Metropolitan Opera debut in "Aïda," conducted by Fabio Luisi, in a production that will also be seen live in high definition in cinemas around the world. She also appears as Odabella in Verdi’s "Attila" at both Teatro Municipal de Santiago and Deutsche Oper Berlin, and sings Amelia in "Un Ballo in Maschera" with Antonio Pappano and the Accademia Nazionale di Santa Cecilia. Ms. Monastyrska and her family make their home in Kiev.

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A native of Kiev, Liudmyla Monastyrska made her stage debut at the Ukraine National Opera in Kiev as Tatiana in Tchaikovsky’s Eugene Onegin in 1996. Having graduated from the Kiev Tchaikovsky Music Academy she became principal soloist of the Ukraine National Opera two years later. She has since appeared in leading dramatic soprano roles such as Aïda, Amelia, Gioconda, Lisa, Nedda and Santuzza at the Ukraine National Opera and the Mikhailovsky Theatre in St. Petersburg.

In 2010 Ms. Monastyrska made a highly acclaimed last-minute debut at Deutsche Oper Berlin as Tosca—a role that immediately led to her much-heralded Italian debut at the Puccini Festival in Torre del Lago under the baton of Alberto Veronesi.

Having made a sensational debut as Lady Macbeth at the Royal Opera House, Covent Garden in 2011, Ms. Monastyrska returns there in the 2012-2013 season as Verdi’s Abigaille opposite the Nabucco of Plácido Domingo, under the baton of Nicola Luisotti—in a new production by Daniele Abbado in which she also appears at La Scala. The Ukrainian soprano makes her Metropolitan Opera debut in Aïda, conducted by Fabio Luisi, in a production that will also be seen live in high definition in cinemas around the world. She also appears as Odabella in Verdi’s Attila at both Teatro Municipal de Santiago and Deutsche Oper Berlin, and sings Amelia in Un Ballo in Maschera with Antonio Pappano and the Accademia Nazionale di Santa Cecilia.

Ms. Monastyrska and her family make their home in Kiev.

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Reviews

"It is Liudmyla Monastyrska’s vocally scorching Abigaille, grandly of the old school in volume, tone and technical bravado, who raises the temperature of the evening. Steady as a rock and fearsomely implacable, with a searing top register and cavernous low notes, she steals the show – and the biggest ovation."

Rupert Christiansen, The Telegraph

"Sharing the musical honours is Liudmyla Monastyrska as Abigaille, the vengeful daughter of Nabucco (aka Nebuchadnezzar). The Ukrainian soprano sings with thrilling amplitude, giving a performance that seems old-fashioned only because so few Verdian singers have this power today."

John Allison, The Telegraph

"The ‘daughter’ Abigaille is in fact the child of a harem slave, and turns out to be a monster — an aspect Liudmyla Monastyrska captures in her commanding tone. But she still provides the wherewithal for a powerful and ultimately touching duet with her putative father."

Barry Millington, London Evening Standard

"For Liudmyla Monastyrska, who brought her voluptuous soprano to the title role [of Verdi's 'Aïda' at the Metropolitan Opera], it was a triumphant house debut. ... Ms. Monastyrska, a native of Kiev, Ukraine, and an established star at that city’s opera house, comes to the Met a fully mature artist. She is gifted with a luscious round soprano that maintains its glow even in the softest notes. Her 'O patria mia' was beautifully drawn and colored with darker inflections that added dramatic intensity. "

Corinna da Fonseca-Wollheim, The New York Times

"With a big shimmering sound, Liudmyla Monastyrska was the chief attraction of the Metropolitan Opera's revival of Verdi's 'Aida.' The 37-year-old Ukrainian soprano made her Met debut in the opening performance of the run Friday night and displayed something of a rarity these days – a dramatic voice capable of filling the Met in a core Verdi role. Her high notes were thrilling as the Ethiopian princess who is enslaved. She showed her voice's steel in 'Ritorna vincitor (Return a conqueror)' and its warmth during 'O patria mia (O, my country).' ... Given the dearth of singers who can perform these parts at the 4,000-capacity Met, she is a singer to watch. "

Ronald Blum, Associated Press

"Liudmyla Monastyrska had a triumphant debut in the title role, providing a deeply moving portrayal of the suffering heroine. Her voice has heft and potency that rang viscerally through the massive choruses in Acts one and two, but it has an exquisite delicacy that was perfectly suited to Verdi's sweeping lines. Nowhere was this more evident than in Aida's famous aria 'Ritorna Vincitor' during which her internal conflict between her love for the Egyptian general Radames and her native Ethiopia is put on display. During the sublime 'Numi Pieta' Monastyrska started the phrase with a very gentle color, almost mezza voce, and slowly built up a thrilling crescendo to the climactic A flat. Aida gets two chances to sing this phrase and both times, Monastyrska delivered heart wrenching renditions. During her 'O Patria Mia' in which Aida ponders whether she will ever see her home again, Monastyrska brought a similar gentleness to her phrasing. As she rose toward the high C near the end of the aria, she built a lengthy crescendo, but then delivered the C as a disembodied pianissimo that made the moment sublime."

David Salazar, Latinos Post

"The showstopper of the night was Liudmyla Monastyrska, a Ukrainian soprano who sounded sensational in Lady Macbeth's 'Letter Scene' from Verdi's 'Macbeth.' Monastyrska, who is to make her Metropolitan Opera debut later this month in Verdi’s 'Aïda,' would seem to have all the ingredients for a major career—a rich, potent voice that she deploys with confidence over a wide range. She captured the dangerous abandon of Lady Macbeth’s outpourings, while maintaining firm control over the tricky vocal line. "

Mike Silverman, Associated Press