(Courtesy www.DinaKuznetsova.com) This photo of Dina Kuznetsova was taken by Inge Ungeheuer. Russian-born soprano Dina Kuznetsova will star as Tatyana, the naïve country girl whose love is rejected by a dashing man of the world in Tchaikovsky’s romantic masterpiece, Eugene Onegin.
Kuznetsova To Sing Tatyana in Tchaikovsky’s Eugene Onegin
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JULY 17, 2007
By Press Release, Lyric Opera of Chicago

Russian-born soprano Dina Kuznetsova will star as Tatyana, the naïve country girl whose love is rejected by a dashing man of the world in Tchaikovsky’s romantic masterpiece, Eugene Onegin, at Lyric Opera of Chicago next March, Lyric’s general director William Mason has announced.
Kuznetsova’s triumphs at Lyric include Juliette in last season’s Roméo et Juliette, Gilda/Rigoletto (2005/06), and the title role/The Cunning Little Vixen (2004/05). The soprano, who has earned international acclaim in several leading roles, is an alumna of Lyric Opera’s Patrick G. and Shirley W. Ryan Opera Center.
Kuznetsova replaces Italian soprano Barbara Frittoli, who was scheduled to make her Lyric Opera debut in Eugene Onegin. “It is with great sadness that I withdraw from the production of Eugene Onegin in the winter of 2008,” Frittoli said through her manager, Jack Mastroianni.
“For many years I have been looking forward both to making my Lyric debut as well as my role debut as Tatyana in this beloved opera. However, after studying for more than a year, the language, alphabet, and pronunciation continue to elude my grasp. To hope for a ‘miracle’ can only put the production at risk. Therefore, the only ‘miracle’ for which I truly hope is that Lyric Opera will generously re-invite me in the near future. I deeply appreciate Lyric Opera of Chicago and the public for its understanding.”
The production of Eugene Onegin is on loan from the Metropolitan Opera. The Lyric Opera presentation is generously made possible by an Anonymous Donor and Nuveen Investments.
Dina Kuznetsova enjoys great success in a wide variety of lyric roles. Known for her passionate portrayals of the heroines of Italian and French opera, the Russian-American soprano has already attracted the attention of the world’s major opera companies for her outstanding musicianship and compelling stage presence.
Highlights in the 2006/07 season have included her return to Lyric Opera of Chicago as Gounod’s Juliette and her critically praised Royal Opera/Covent Garden debut as Lauretta opposite Bryn Terfel in a new production of Gianni Schicchi, conducted by music director Antonio Pappano. Kuznetsova also performed a Dvorák program with the New York Festival of Song at Carnegie Hall’s Weill Recital Hall, and stars as Juliette for her debut at Detroit’s Michigan Opera Theatre June 2-9. Her season began with a nationally-televised September 11 dedicatory concert. In 2007/08 Kuznetsova will return to San Francisco Opera as Pamina/Die Zauberflöte and to Michigan Opera Theatre as Violetta/La traviata.
In the 2005/06 season, the soprano returned to Lyric Opera of Chicago as Gilda in a new production of Rigoletto by Stefano Vizioli, conducted by Jesús Lopez Cóbos. She returned to Boston Lyric Opera as Violetta in a production by James Robinson, under the baton of Stephen Lord. In concert, she sang the opening night of the season for the Chamber Music Society of Lincoln Center in a program of Dvorák songs with renowned accompanist Charles Wadsworth. Kuznetsova also returned to the New York Festival of Song for a program of zarzuela with NYFoS’s co-artistic director, pianist Steven Blier.
In the 2004/05 season Kuznetsova scored a triumph in her first performances of the title role of Janácek’s The Cunning Little Vixen at Lyric Opera of Chicago, a new production conducted by Sir Andrew Davis. She made her role debut as Violetta for her debut at Opera Pacific, and she returned to Cincinnati Opera as Gilda in Rigoletto. In recital, she appeared in a specially designed program featuring the poetry of Anna Akhmatova and Alexander Blok which was presented both in New York and at Washington’s Kennedy Center, under the auspices of the city’s highly prestigious Vocal Arts Society of Washington.
In previous seasons, Dina Kuznetsova made her debut with Munich’s Bayerische Staatsoper in the title role of Handel’s Rodelinda, conducted by Ivor Bolton. This was followed by her London debut as Giulietta/I Capuleti e i Montecchi with English National Opera to great critical acclaim. She sang her first performances of Gilda for her debut with Boston Lyric Opera, and also debuted with the Boston Symphony Orchestra in the Shostakovich Finnish Suite.
Among her other major American operatic appearances have been her role debuts as Musetta/La bohème (San Francisco Opera) and Juliette (Cincinnati Opera). She made her Weill Recital Hall debut at Carnegie Hall under the auspices of the Marilyn Horne Foundation. Kuznetsova’s debut at Berlin’s Deutsche Staatsoper unter den Linden was as Donna Anna/Don Giovanni conducted by Daniel Barenboim and opposite René Pape. She returned to that company to star as Adina (role debut) in a new production of L’elisir d’amore opposite Rolando Villazon.
Kuznetsova is an alumna of The Patrick G. and Shirley W. Ryan Opera Center (formerly the Lyric Opera Center for American Artists). While there, her roles included Pamina/Die Zauberflöte and a Flower Maiden/Parsifal (the latter conducted by Sir Andrew Davis). She also appeared in the world-premiere performances of Michael John LaChiusa’s Chautauqua Variations and performed extended excerpts from La traviata in Grant Park. Her most prestigious orchestral appearances also include the demanding Soprano I solos of Mozart’s Mass in C minor at the Blossom Festival, conducted by Sir Andrew Davis.
While attending Santa Barbara’s Music Academy of the West, Kuznetsova sang the title role/Rodelinda and won the Marilyn Horne Foundation Competition, which resulted in her New York debut recital. She also gave a duet recital in Savona, Italy, under the auspices of Renata Scotto’s Opera Academy at Mme. Scotto’s request. Kuznetsova made her European operatic debut in Handel’s Saul at the Théâtre Royal de la Monnaie in Brussels, conducted by René Jacobs.
A graduate of Oberlin Conservatory (where she arrived as a piano major), Kuznetsova makes her home in Ohio with her husband and son.
EUGENE ONEGIN / Peter Ilyich Tchaikovsky
10 performances – Mar. 1, 5, 8, 11, 14, 17, 21, 24, 27 (ma), 30 (ma).
Sung in Russian with projected English titles.
Tchaikovsky’s heartbreaking romance has been heard at Lyric only twice previously, in 1984 and 1990/91.
Based on the world-famous poem of the same name by Aleksandr Pushkin, this opera presents a cynical antihero, Onegin (baritones Dmitri Hvorostovsky Mar. 1-14 and Mariusz Kwiecien Mar. 17-30), with whom the inexperienced country girl Tatyana (soprano Dina Kuznetsova) falls in love. Her passionate letter to him sets in motion a series of catastrophic events leading to a duel in which Onegin kills Lensky, Onegin’s best friend (tenor Frank Lopardo) and fiancé of Tatyana’s sister Olga (mezzo-soprano Nino Surguladze, debut). A chance meeting three years later with Tatyana, now the sophisticated wife of Prince Gremin (bass Vitalij Kowaljow, debut), awakens Onegin’s feelings for her, but by then it is too late. Others figuring in the story are the mother of Tatyana and Olga, Mme. Larina (soprano Marie Plette, debut); their nurse, Filipyevna (mezzo-soprano Catherine Wyn-Rogers); and the visiting Frenchman, Triquet (tenor Keith Jameson, debut).
Sir Andrew Davis will conduct the production, of which Robert Carsen is the original stage director. The revival director is Paula Suozzi (debut). The set and costume designer is Michael Levine. Donald Nally is chorus master. The original lighting design is by Jean Kalman; revival lighting designer is Christine Binder. Original choreography by Serge Bennathan; revival choreographer is August Tye.
Lyric Opera of Chicago: www.lyricopera.org/
Dina Kuznetsova: www.DinaKuznetsova.com