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Bellini – I Capuleti e i Montecchi, June 4, 2016
Enthusiastic audience in Belcanto happiness

The Giulietta of Uliana Alexyuk already has her made performance in the first scene with the romance “Oh! Quante volte” – the hit aria of the opera, in duet with the harp, Alexyuk succeeds in a weightless lyric and yet longing way. Alexyuk also plays her part completely and sings it with wonderful piani and bewitching sound; her voice expresses purity, fragility and innocence. The duets – breathtaking, intimate melody, in the death scene it was yesterday utter stillness in the audience. For both main actresses, the many BRAVAS were highly earned.

Puccini – La Bohème, 14.01.2016

…Im Vergleich zur Premiere gab es eine komplett neue Besetzung, doch premierentauglich war nur eine: Uliana Alexyuk als Musetta kam als einzige an gegen das symphonisch aufspielende Orchester, geleitet von Christoph Gedschold mit sehr schönen Tempi und Betonungen und einer Auffälligkeit: noch nie habe ich die Harfe in der Bohème so prominent herausgehört wie gestern. Harfenistin Silke Wiesner trug durch ihr Spiel wesentlich zum meinem akustischen Glück bei. Und noch eine Besonderheit: noch nie mußte ich über Musettas vorgetäuschten Schmerzensschrei im 2. Akt so lachen wie gestern, Alexyuk überraschte mich mit einem wunderbar getroffenen Laut…

BNN, Isabel Steppeler, June 6, 2016, June 26, 2016

Belcanto Happiness

Uliana Alexyuk and Dilara Baştar in their trousers role as Romeo have excellently internalized their roles musically as well as performing with charming Piani. Alexyuk’s soprano is warm … and a noble example of design and phrasing. Baştar’s dark, guttural Mezzosopran complements her with irresistible timbre. Very high, his temperament, Eleazar Rodriguez as Tebaldo rises and shines with effortless heights.

Fest Ensemble Member in Staatstheater Karlsruhe

Uliana is proud to announce that after a season as a guest artist at the Staatstheater in Karlsruhe, singing such roles as Musetta in La Bohème, Prinzessin/Feuer/Nachtigall in Das Kind und die Zauberdinge as well as the title role in Stravinsky’s Nachtigall, she is now a member of the ensemble!  There, she will be singing Nanetta in Falstaff, Giulietta in I Capuleti e i Montecchi and Blonde in Die Entführung aus diem Serail, among many concerts in the 2015/2016 season.

Check out the exciting things happening in her new theater home here:

“Even without a star-studded cast, however, the Bolshoi assembled a worthy lineup, mostly from the company’s ensemble, that were collectively more convincing that Pizzi’s staidly formal staging. Uliana Alexyuk put her bright, trill-heavy voice to fine use as the sleepwalking Amina. The Kiev-born soprano had a fluent and expressive coloratura and attractive pianissimo. …it was a highly accomplished and sensitive portrayal.”

-A.J. Goldmann

carmenUliana Alexyuk continues to impress. Her Frasquita brought forth the soaring, consistent vocal production and acting skills that were first seen in her star turn as Gilda in this season’s Rigoletto.

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19 May, 2014

Uliana Alexyuk has won the John Christie Prize for her performance as Zerbinetta in Ariadne auf Naxos in Glyndebourne’s 2013 season. Recommended by Glyndebourne and chosen by the guild “The Worshipful Company of Musicians,” this honor comes with a cash prize for further studies.

Click here for more information on the prize

Carmen, Houston Grand Opera, Carolyn Sproule and Uliana Alexyuk.

Carmen, Houston Grand Opera, Carolyn Sproule and Uliana Alexyuk.

Likewise, Uliana Alexyuk is appearing in her fifth HGO production this season, and skillfully showcases her ability to hit soprano notes in the stratosphere as Carmen’s friend Frasquita. She is one HGO Studio Artist that will hopefully be gracing Houston stages many more times in the coming years.

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Theater Jones – Chamber music concert

“The quartet was joined by soprano Uliana Alexyuk who made quite an impression as a last minute replacement Gilda in Houston Opera’s production of Rigoletto in January. She negotiated the role’s difficulties with ease and her more lyric voice smoothed out the piping that pepper the performances of many lighter-voiced coloraturas. My review is here. She was every bit as impressive in her selections with the St. Petersburg, in graceful adaptations by Aleksey Aronov. From Glinka’s groundbreaking opera, Ruslan and Ludmila, she sang Ludmila’s aria “Ah ty, dolya-dolushka.” Next came three songs by Rachmaninoff: “Margaritki,” “Daisies” and the best known of the bunch, “Ne poi, krasavitsa, pri mne.” She closed with Alyabiev’s “The Nightingale.” In all of these selections, she spun out a silken vocal thread that ran through every note and connected all of the phrases internally as well as with each other. The Russian diction, which is not as favorable to such legato singing (as say, Italian), did not give her the slightest pause. Admittedly, this is her language, but that alone cannot explain the legato core at the center of her voice. No, that is pure technical mastery combined with a stunning natural gift. It is like a moving stream into which she launches note after note and phrase after phase. This is not to imply that she lacks power or the ability to dramatically drive the voice when that is required. But even here, it is the connecting line that separates her from other singers.”

-Gregory Sullivan Isaacs

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