Liudmyla Monastyrska



Ukrainian soprano Liudmyla 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.

Future engagements include roles of Abigail in Nabucco at Metropolitan Opera in New York, return as Leonora in La forza del Destino at Deutsche Oper Berlin, Aida at Arena di Verona and debut also as Aida at Teatro di San Carlo in Naples.

Current engagements included return as Abigail in Nabucco at ROH Covent Garden, Verdi’s Macbeth (role of Lady Macbeth) at Bayerische Staatsoper Munich, three concert of Verdi Gala at Staatsoper Berlin, Leonora in La forza del destino at Deutsche Oper Berlin among others.

In the season 2019-20 she continues her successes as Abigail in Nabucco at Staatsoper Hamburg, Odabella in Attila with Münchener Runfunkorchester and Tosca at Teatro dell’Opera di Roma.

She returns to Teatro alla Scala as Leonora in Il trovatore and then to ROH Covent Garden as Santuzza in Cavalleria Rusticana. And she finishes her new season at Deutsche Oper Berlin as both Leonora in La forza del destino and Abigail in Nabucco.

The 2018-19 season sees Ms. Monastyrska star in new productions of La forza del destino conducted by Sir Antonio Pappano at Covent Garden and Tosca at the Gran Teatre del Liceu. She also makes her role debut as Leonora in Il trovatore at the Staatsoper Berlin and returns to the Deutsche Oper Berlin as Tosca, as well as the Wiener Staatsoper as Abigaille in Nabucco. She will also sing opera gala concerts in Greece with Dimitri Platanias and Latvia to celebrate the Latvian National Opera’s centennial.

Ms. Monastyrska’s began her 2017-2018 season with her Los Angeles Opera debut as Abigaille in Verdi’s Nabucco conducted by James Conlon and opposite Placido Domingo. She also made her role debut as the title role of Bellini’s Norma at the Houston Grand Opera led by Patrick Summers. She returned to Germany for two productions with the Deutsche Oper Berlin where she sang the title role of Verdi’s Tosca and the role of Abigaille in Nabucco. Her season closed in Barcelona at the Gran Teatre del Liceu, where she made her role debut as the title role of Puccini’s Manon Lescaut.

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“Rome Opera assembled a cast for this run that likewise harks back to an earlier era of grand voices, especially the Tosca of Liudmyla Monastyrska, whose combination of sumptuous voice and mercurial temperament made for a memorable Tosca. At turns kittenish, provocative, outlandish, simple, devout and brave, the Ukrainian soprano has an ample, supple voice with gleaming, secure high notes that pierce through Puccini’s rich orchestrations with ease. However, it wasn’t her high notes alone that made ‘Vissi d’arte’ so special, but also the exceptional beauty of her middle range.”


Rick Perdian

Seen and Heard International

“Liudmyla Monastyrska’s the line of singing, the timbre, and the good technique get me to draw a rough Tosca, of great vocal power, with a sharp well tempered and placed, impeccable. The lower register’s considerable projection made it heard without any problem throughout the hall, and gave us a Vissi d’arte of high level.”


Javier del Olivo

Platea Magazine

Verdi’s “La forza del destino” at the Royal Opera House in London surprises twice: with a grandiose soprano and with a great conductor who can do almost anything… her soprano can do just about anything. Very attractive mezzo vocce in the highest register… but sometimes Monastyrska easily drowns out the orchestra, the choir and the soloist colleagues. The voice does not get sharp at any moment, but floods like a wave through the hall. And, if the score requires endless legati, she does it effortlessly tone by tone – it seems like she does not have to breathe at all .

Because technically so well equipped, this magnificent singer can express all feelings, all emotional levels through her vocal: peace, despair, death, restlessness, eroticism, fear of death, tenderness. Leonora goes through all of them, and Monastyrska, who sings it all fascinatingly, can therefore tell the slow, out-of-the-way gliding of her heroine in an enthralling and reliving way.


Reinhard J. Brembeck

Süddeutsche Zeitung

“Monastyrska’s Leonora is beautifully drawn both dramatically and vocally. Her passion, fear, and anguish are articulated with pitch perfect intensity and coloratura.”

Rivka Jacobson

Plays To See

More Reviews

“The Leonora of Liudmyla Monastyrska was presupposed vocal quality and did not disappoint at all, with a masterful and emotional lesson of Verdian singing. The color is beautiful and bright, on it she displayed a precious emission in ornaments and exquisite in the dynamics – absolutely moving those floating pianissimi that still resonate in memory.”

Juan José Freijo, Platea Musicale

“… the soprano (Monastyrska) ticked all the vocal boxes… The top C fermata on “amor” at the end of the concertante section in Act Two seemed to go on forever and sent the voice-crazy Catalans wild… Manon’s abject contempt when she mocks her aged benefactor with “Guardatevi” showed Monastyrska was a fine actress  in her own right…Sola, perduta, abbandonata had real anguish with a killer B flat on “non voglio morir… It was the intelligent interpretation and vocal assurance of Liudmyla Monastyrska.”


“… the evening was also the occasion for the triumphant Los Angeles Opera debut of Ukrainian soprano Liudmyla Monastyrska. Assaying one of the most challenging roles in Italian opera, Monastyrska’s vocal performance was breathtaking… The most remarkable quality of Monastyska’s voice is its beautifully controlled, and vocally expressive bel canto. The role of Abigaille abounds in soft, sensuous, sweetly melodic passages, as in the aria Anch’io dischiuso un giorno and in these passages Monastyrska demonstrated hers is a voice deserving international attention. The Los Angeles Opera audience recognized this with sustained ovations.”

Opera War Horses

“Normally one thinks of Nabucco as a vehicle for a fearless soprano who can do anything… Maria Callas was supreme at this sort of thing back in 1949, but Ukranian soprano Liudmyla Monastyrska now appears to own the role and is remarkable in it.”

David Gregson, Opera West

“Already, last July, her Aida on this same stage had made a strong impression: the width of her instrument, the richness of her timbre had conquered the public. Her Tosca is of the same caliber, one can even say that it convinces more so much the vocal means and the stylistic qualities of the singer seem adapted to this personage. Moreover the Ukrainian soprano has a palette of nuances that allows her to alternate impalpable mezzo-forte with treble of an impressive amplitude. Theatrically her game remains sober and effective at the same time, especially during her confrontation with Scarpia.”

Christian Peter, Forum Opera

“Clear singing, obscure production: Domingo and Monastyrska in Nabucco
The audience interval chatter confirmed that the outstanding singing of the evening came from Liudmyla Monastyrska’s Abigaille. What makes Monastyrska ideal for the role is her dynamic range: when she goes for the grandiose “Salgo già del trono aurato”, you’re left in no doubt whatsoever about who, barring an Act of God, is going to come out the winner of the golden throne. Just moments before, she displayed total control of pianissimo in the contemplative ‘Anch’io dischiuso un giorno.”

Dave Karlin, Bachtrack

“As the awful Abigaille, Liudmyla Monastyrska’s formidable stature, imperious gestures and simply colossal voice obviously compel attention, but she also produces the evening’s most ravishing pianissimos.”

Richard Morrison, The Times 

“The fabulous directing in Mascagni’s one-act play seemed to inspire all soloists, the services a round festival night-worthy performance. Liudmyla Monastyrska’s lush dark-luminous soprano lent her already passionate sounding Santuzza added attraction. With fiery passion and drama, she threw herself accordingly into an intense and enthralling vocal performance. Still, the Ukrainian was always able to scale back her voice to a minimum, with its well-trimmed, space-filling and touching Piani a success – great rejoicing for this thrilling role Portrait.”

S. Martens, Das Opernglas 

“Monastyrska is also a superb musician and technician, singing stylish pianissimos and dominating ensembles like no other Verdi soprano I’ve heard (that was evident right from the start in her Covent Garden debut as Aida).”

David Nice, The Arts Desk 

“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