Elena Tsallagova

Soprano

Biography

Lyric coloratura soprano Elena Tsallagova’s international career goes from strength to strength. This season marks her North American debut as Pamina in the Canadian Opera Company’s production of Die Zauberflöte. She also debuts at the Opéra National du Rhin in The Cunning Little Vixen and Cavalli’s La Calisto and summer 2017 sees her sing Micaela at Bregenz Festival.

Born in Vladikavkaz, Russia, Elena Tsallagova studied at the St Petersburg Conservatory. On graduating she performed several roles at the Mariinsky Theatre, winning first prize in the Rachmaninoff vocal competition.

She then studied interpretation with Ileana Cotrubas and in 2006, she entered the young artists programme at the Opéra National de Paris. In 2008 she was invited to perform the title role in The Cunning Little Vixen at the Opéra Bastille, for which she received outstanding reviews. The DVD of the production was awarded DVD of the year at the 2009 Victoires de La Musique.

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Reviews

“Elena Tsallagova was outstanding as the unbalanced Contessa di Folleville, her agile soprano able to reach coloratura heights without apparent effort or loss of quality.”

John McCann

Opera

“Elena Tsallagova [was] an enchanting Nanetta, her voice of spun gold.”

Mark Valencia

Classical Source

More Reviews

“Elena Tsallagova was outstanding as the unbalanced Contessa di Folleville, her agile soprano able to reach coloratura heights without apparent effort or loss of quality. ”

John McCann, Opera

“Elena Tsallagova [was] an enchanting Nanetta, her voice of spun gold.”

Mark Valencia, Classical Source

“Elena Tsallagova, en Nannetta, est l’autre grande réussite de la soirée. Tour à tour espiègle ou ingénue, sa composition dramatique est également d’une grande justesse, dans un rôle pourtant bien différent de la Mélisande où nous avons pu l’entendre. Puissante et mélodieuse, sa voix enchante la salle.
[Another of the evening’s great successes is Elena Tsallagova as Nanetta. Alternately playful and naïve, her dramatic composition is also greatly accurate, although in a completely different role than that of Mélisande, which is what we had heard of her. The powerfulness and melodiousness of her voice delight the audience.]

Marie Torrès, Artistikrezo

“Elena Tsallagova, qui fut sur cette scène une touchante Mélisande la saison passée, séduit d’emblée par la fraîcheur de son timbre et la splendeur de ses aigus filés.
[Elena Tsallagova, who was a moving Mélisande last season on this very stage, charms the audience immediately with her youthful timbre and splendid soft high notes.]

Christian Peter, Forum Opéra

“Une Mélisande remarquable, à la fois froide et corporelle (comme le souhaitait Barthes), excellente dans les parties lyriques plus difficiles – une des seules à passer constamment la barre de la fosse.
[She is a remarquable Mélisande, both seemingly absent and physically present (as was Barthes’ wish). She is excellent in the most difficult lyrical sections and is one of the only singers who are constantly heard over the orchestra.]

Marie Gil, Opéra magazine

“Elena Tsallagova, Folleville à la plastique – vocale et physique – irréprochable, qui flirte sans mal avec l’aigu le plus extrême sans renoncer pour autant à mordre le fruit d’un soprano charnu, déjà lyrique.
[Elena Tsallagova, singing Folleville, whose voice and physique are irreproachable, flirts with the highest notes without any difficulty all the while reaching a luscious, already lyrical soprano.]

Christophe Rizoud, Forum Opéra

“Rhythms, with the very occasional exception, were taut and the structure was admirably clear. Elena Tsallagova showed herself as agile of voice as she was on stage, in the title role. Her rapport with Hannah Esther Minutillo’s Fox was genuinely moving, whatever reservations one might entertain in principle about a couple of foxes falling in love.”

Mark Berry, Seen and Heard International