Ukrainian dramatic soprano Liudmyla Monastyrska made her stage debut in Kiev in Tchaikovsky’s Eugene Onegin in 1996. She made her highly acclaimed debut in the West in 2010 at Deutsche Oper Berlin in Tosca – a launch that has brought Ms. Monastyrska to the immediate attention of many European, American and Asian opera houses.
At London’s Royal Opera, having impressed critics and audiences alike in new productions of Macbeth with Antonio Pappano and Nabucco with Nicolà Luisiotti, so she was received with equal enthusiasm at La Scala in Nabucco, Cavalleria Rusticana and Aida – the opera that has introduced her to the Metropolitan Opera, Houston Grand Opera, the Hollywood Bowl with Gustavo Dudamel and will serve as her debut this season in Vienna. Subsequently, she appeared in Verdi’s Attila at Deutsche Oper Berlin, Verdi’s Messa da Requiem at Rome’s Accademia di Santa Cecilia as well as with The Cleveland Orchestra and Verdi’s La Forza del Destino with Zubin Mehta in Valencia.
Ms. Monastyrska began the 2014-2015 season at the Hamburg State Opera where she again champions the title role of Aida. Following her Metropolitan Opera appearances as Aida, she returns to her home company the Royal Opera for a new production of Verdi’s Un Ballo in Maschera with Maestro Daniel Oren. She then proceeds to more new productions— first Macbeth at the Staatsoper Berlin with Daniel Barenboim and then at The Salzburg Easter Festival Mascagni’s Cavalleria Rusticana where Ms. Monastyrska will join Jonas Kaufmann and Christian Thielemann not only in opera, but also for concert performances of Verdi’s Messa da Requiem. After making her Vienna State Opera debut this spring as Aida, Ms. Monastyrska concludes her season at Deutsche Oper Berlin in Nabucco.
Ms. Monastyrska can be seen on DVDs of Macbeth and Nabucco – both from the Royal Opera (Opus Arte).
Ms. Monastyrska and her family make their home in Kiev.
Ukrainian Liudmyla Monastyrska’s rich, dramatic soprano has caught the attention of press and audiences alike since 1996, when she made her stage debut as Tatiana in Tchaikovsky's Eugene Onegin in Kiev. A modern artist with a classic sensibility regarding the art of singing, Ms. Monastyrska is acclaimed for her lush, powerful, compelling performances and superb technical command. Her relationships with European, American and Asian opera houses have continued to expand following her highly acclaimed 2010 debut with Deutsche Oper Berlin in the title role of Puccini’s Tosca.
Following 2016 summer engagements that included a private event at the Castel Sant’Angelo in Rome where she sang Act III of Tosca in June and her debut in the title role in the Opera National de Paris’ July production of Aida, Ms. Monastyrska’s upcoming announced appearances in the 2016-17 season include performances with major opera houses in Paris, New York, Berlin and Munich. She returns to the Opéra National de Paris to sing Tosca, and to the Metropolitan Opera for two back-to-back productions - singing the title role in Aida with Marco Armiliato, and singing the role of Abigaille in Nabucco with James Levine conducting and Mr. Domingo singing the title role. She also makes her company debut with the Bayerische Staatsoper singing Abigaille in Nabucco, and joins the Deutsche Oper Berlin for three productions: Tosca, Abigaille in Nabucco, and her role debut as Elisabetta in Don Carlo.
Ms. Monastyrska’s 2015-16 season began and ended with the role of Abigaille in Nabucco - with the Deutsche Oper Berlin in summer 2015 and with Placido Domingo at London’s Royal Opera House in June 2016. She sang the role of Lady Macbeth on a tour of Verdi’s Macbeth through Japan with the Royal Opera House led by conductor Sir Antonio Pappano in summer 2015, followed by her championing the title role of Puccini’s Tosca in both Houston Grand Opera’s and the Metropolitan Opera’s fall productions under Patrick Summers and Joseph Colaneri respectively. Winter/spring 2016 appearances included a return to the Metropolitan Opera to sing Santuzza in Mascagni's Cavalleria Rusticana with conductor Fabio Luisi, and her debut with the Vienna State Opera singing the title role in Verdi’s Aida under conductor Simone Young.
Among Ms. Monastyrska’s performance credits are Verdi’s Macbeth with Maestro Pappano and Nabucco with Nicolà Luisiotti at London’s Royal Opera House (both new productions), and Nabucco, Cavalleria Rusticana and Aida at La Scala. Aida has also served as her introduction to the Metropolitan Opera, Houston Grand Opera, Vienna State Opera, as well as the Hollywood Bowl, where she sang Aida in concert under the baton of Gustavo Dudamel. With the Deutsche Oper Berlin, she has appeared in productions of Puccini’s Tosca, Verdi’s Macbeth and Nabucco, as well as a concert version of Attila. Ms. Monastyrska has sung Verdi’s Messa da Requiem at Rome’s Accademia di Santa Cecilia as well as with The Cleveland Orchestra, and has also sung Verdi’s La Forza del Destino with Zubin Mehta at Valencia’s Palau de les Arts Reina Sofia. She appeared in Macbeth with the Staatsoper Berlin, sharing the stage with Placido Domingo, and made her Italian debut with Festival Puccini in Torre del Lago, Italy. In 2015, she made her debut at the Salzburg Easter Festival conducted by Christian Thielemann, singing the role of Santuzza in a new production of Cavalleria Rusticana with Jonas Kaufmann, as well as the Verdi Requiem.
Ms. Monastyrska can be seen/heard on DVDs of Macbeth and Nabucco – both from the Royal Opera (Opus Arte), and in Sony Classics DVD of Cavalleria Rusticana from the 2015 Salzburg Easter Festival with the Staatskapelle Dresden.
Born in Kiev, Liudmyla Monastyrska was a principal soloist with the Ukraine National Opera for several years before expanding her international career. Ms. Monastyrska and her family make their home in Kiev.
"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, 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