Elena Manistina

Introduction

Not only the winner of first prize in the 2002 Operalia Competition but also a finalist of the 2003 Cardiff Singer of the World Competition, Russian mezzo-soprano Elena Manistina is well on her way to having a major career. 

Excelling in the Verdian and Russian repertoires, some of Elena's stand out roles include Marfa in Khovanschina, Ulrica in Un Ballo in Maschera, Azucena in Il Trovatore, Ameris in Aida and Lyubov in Mazeppa

The artist has had the privilege to have worked with numerous world-renowned conductors, such as Michael Tilson Thomas, Edward Gardner, Esa-Pekka Salonen and Daniel Oren, appearing on the stages of the Royal Opera House Covent Garden, Washington National Opera, Opera de Paris, Canadian Opera, Teatro Municipale de Santiago and the Deutsche Oper Berlin among others. 

Equally at home on the concert platform, Elena's lustrous voice has won much praise following such appearances as Mahler 8 with the San Francisco Symphony Orchestra and the Hollywood Bowl, Alexander Nevsky with the CBSO and St. Louis Symphony Orchestra and Verdi's Requiem at the Teatro Communale Giuseppe Verdi in Trieste.

Recent notable interpretations include a magnificent portrayal of Baba the Turk in The Rake's Progress at the Glyndebourne Festival, Lyubov in Mazeppa at Monte Carlo Opera and Azucena in Il Trovatore at Canadian Opera. 

In the coming seaons Elena will re-visit the role of Azucena at the Bayerischer Staatsoper and Teatro Municipale de Santiago, as well as Ulrica at the Theatre Capitole du Toulouse and at the Canadian Opera Company. She also continues her ongoing relationship with the Bolshoi Opera, performing regularly.



Please contact Camilla Walt for an up-to-date biography. 

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News & Features

Repertoire

OPERATIC:

CILEA Adriana Lecouvreur (Princess de Bouillon)

DVORAK Rusalka (Jezhibaba)

MASCAGNI Cavalleria Rusticana (Santuzza)

MASSENET Don Quichotte (Dulcinee)

MUSSORGSKY Boris Godunov (Marina)
MUSSORGSKY Khovanschina (Marfa)

PONCHIELLI La Gioconda (Laura)

PUCCINI Suor Angelica (Zia Principessa)

RIMSKI-KORSAKOV The Tsar's Bride (Lyubasha)

SAINT SAENS Samson et Dalila (Dalila)

STRAUSS Die Fledermaus (Orlofsky)

STRAVINSKY Oedipus Rex (Jocasta)

TCHAIKOVSKY Mazeppa (Lyubov)

TIPPET A Midsummer Marriage (Sosostris)

VERDI Aida (Amneris)
VERDI Luisa Miller (Federica)
VERDI Il Trovatore (Azucena)
VERDI Don Carlo (Eboli)

CONCERT:

BEETHOVEN Symphony No. 9

BRAHMS Alto Rhapsody

MAHLER Des Knaben Wunderhorn
MAHLER Kindertotenlieder
MAHLER Ruckert Lieder
MAHLER das Lied von der Erde

MUSSORGSKY Songs and Dances of Death

PROKOFIEV Alexander Nevsky
PROKOFIEV Ivan the Terrible

ROSSINI Stabat Mater

SHOSTAKOVICH Six Poems of Marina Tsvetaeva

VERDI Requiem

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Press

Verdi

Il Trovatore

Four Seasons Centre, Canadian Opera Company

Elena Manistina was a refreshingly robust presence as the gypsy Azucena, playing the woman and her tragic situation for reality rather than going in for clichéd stereotypes or melodramatic rant. She also understands that volume is a necessity when singing Verdi, but so is control. If her voice were a piano, she knows just when to apply the soft pedal. Richard Ouzounian, The Toronto Star, 1 October 2012
An opera with four superstars: that’s the ideal, an ideal met gloriously by the COC. Russian mezzo Elena Manistina is a powerful, frightening, yet lyrical Azucena, the gypsy woman with a horrible secret and a heart full of revenge and pain. Her Act 2 exposition of the death of her mother, burnt at the stake, sparks the opera to life, and builds its emotional centre. Without a completely convincing performance, that cohesion would never appear, but Manistina kept it alive all night. Robert Harris, The Globe and Mail, 1 October 2012
The principal who embodied the role in all its musical and dramatic elements was the mezzo-soprano Elena Manistina, grand and lustrous as Azucena, the Gypsy torn between step-maternal love and that overriding imperative of the Italian stage, revenge. We certainly got a full quota of both emotions from this Russian newcomer. Her duets with Manrico were powerful enough to neutralize the oddities of the libretto. Arthuer Kaptainis, National Post, 1 October 2012
Meanwhile, mezzo-soprano Elena Manistina rounds things out with heart-breaking skill as the gypsy Azucena, driven to vengeance and then madness by an act of horror that spawned the brothers' separation. John Coulbourn, Toronto Sun, 30 September 2012
Manistina takes command of the action just as Azucena should, both with a big voice and a striking stage presence. Jon Kaplan, NOW Toronto, 30 September 2012

Prokofiev

Alexander Nevsky

Powell Symphony Hall, St Louis Symphony Orchestra

The most touching and beautiful moment is "The Field of the Dead," an aria for mezzo-soprano. Robertson scored a coup de theatre by not bringing on soloist Elena Manistina early; instead, she entered as the introduction to the aria began, looking tentatively around her as if for the body of her lover and arriving next to the podium precisely in time to sing. It was hugely effective, and so was Manistina herself; she's the real deal, a mezzo with a big sound and a rich low range. The aria was easily the high point of the evening... Sarah Bryan Miller, STL Today, 21 November 2010

Verdi

Un Ballo in Maschera

Washington National Opera

...mezzo-soprano Elena Manistina was stunning in the role of Mam'zelle Arvidson, the fortune teller... The Washington Examiner, September 2010

Stravinsky

The Rakes Progress

Glyndebourne Festival

...a celebrated Bearded Lady (a richly comic portrayal by Elena Manistina) The Express, 15 August 2010
...Elena Manistina bring[s] star quality to Baba the Turk.. The Financial Times, 9 August 2010