Ekaterina Siurina


Already established as one of the leading sopranos of her generation, Ekaterina Siurina continues to perform in many of the top opera houses across the world including; the Royal Opera House Covent Garden, Wiener Staatsoper, Deutsche Staatsoper Berlin, Opera de Paris, MET Opera New York and Salzburg Festival.

Ekaterina's most prominent roles to date include Gilda Rigoletto, Ilia Idomeneo, Ann Trulove The Rake's Progress, Adina L'elisir d'amore, Leila The Pearlfishers, Amina La Sonnambula and Giulietta I Capuleti e i Montecchi. Also renowned for her charming concert stage presence, Ekaterina is in demand internationally, often performing alongside her husband, tenor Charles Castronovo. In 2014, she released her debut solo recital disc, Amore e Morte featuring songs by Verdi, Bellini, Donizetti and Rossini, accompanied by Iain Burnside. Ekaterina also features on the Rachmaninov songs disc available on Delphian Records.

Engagements this season and beyond include appearances at the Bayerische Staatsoper, Wiener Staatsoper and Royal Opera House. Her future concert appearances include the Rossini Stabat Mater with the Orchestre d’Ille de France conducted by Maestro Mazzola, Die Schopfung with the NDR and Mozart Mass in C minor.


 [This is not a biography and is for information only.  Please contact Sophie Robertson for an updated biography and performance schedule]

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News & Features



BELLINI I Capuleti e i Montecchi (Giulietta)
BELLINI I Puritani (Elvira)
BELLINI La Sonnambula (Amina)
BIZET Les Pecheurs de Perles (Leila)
DONIZETTI L'elisir d'amore (Adina)
DONIZETTI Don Pasquale (Norina)
GLINKA Ruslan and Lyudmila
GLUCK Orfeo et Euridice (Euridice)
GOUNDOD Romeo et Juliette
HANDEL Alcina (Morgana)
HANDEL Giulio Cesare (Cleopatre)
HANDEL Ariodante (Ginevra)
MOZART Clemenza di tito (Servilia)
MOZART Don Giovanni (Donna Anna)
MOZART Idomeneo (Ilia)
MOZART Die Zauberflöte (Pamina)
MOZART Lucio Silla (Giunia)
MOZART Le Nozze di Figaro (Susanna)
OFFENBACH Les Contes de Hoffmann (Antonia)
PUCCINI La bohème (Mimi)
PUCCINI Gianni Schicchi
PUCCINI Turandot (Liu)
STRAVINSKY The Rake's Progress
VERDI Rigoletto (Gilda)
VERDI Falstaff (Nannetta)
VERDI La Traviata (Violetta)


BACH B Minor Mass
BEETHOVEN Missa Solemnis
BRAHMS Requiem
FAURE Requiem
MAHLER Symphony No. 2 & 4
MONTEVERDI Il Vespro della Beata Vergine
MOZART C Minor Mass
MOZART Requiem
MOZART Exultate Jubilate
ORFF Carmina Burana
PERGOLESI Stabat Mater
ROSSINI Petite Messe Solenelle
ROSSINI Stabat Mater
SCHUBERT Mass in A flat

Please contact Sophie Robertson for a full repertoire list.

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Media Player


    Quanto avran fine ormai . . .Padre, germani, addio!



Click here to read the interview on what its like to work with your husband with Ekaterina and tenor Charles Castronovo ahead of their appearance at the Royal Opera House, Covent Garden as Pamina and Tamino in The Magic Flute.
Clare Colvin, The Sunday Express, 31 March 2013

Click here to read the interview with Ekaterina Siuirna prior to her house debut at the Houston Grand Opera, as Adina in Elisir d'Amore. 
Everett Evans, The Houston Chronicle, October 23 2009

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Rosenblatt Recitals, Luis Gomes and Iain Burnside

Wigmore Hall

"Ekaterina Siurina sang a group of songs by Rossini, Bellini and Donizetti, works written more for the parlour or the salon than the opera house. Rossini's La pastorella dell'Alpi gave Siurina a chance to show off her flexibility in coloratura, whilst charming and delighting us. Bellini's Malinconia, ninfa gentile was sung with fuller tone, and a vibrant sense of line, and in Donizetti's A mezzanotte she sang with really affecting tone." Robert Hugill, Planet Hugill, 16 March 2016
"Part two opened with Ekaterina Siurina's affectingly plangent account of Me voila seule dans la nuit from Bizet's Les pecheurs de perles, in which her confident coloratura was combined with a nice sense of style and strong tone, sung in creditable French."

"Siurina's voice, at least in the confines of the Wigmore Hall, is a huge instrument and extremely forceful. Beginning with the lovely Cherry Duet “Suzel, buon dì" from L'amico Fritz, she demonstrated a natural affinity with verismo which was reinforced in the scene from Bohème; a lyrical whimsy and immediacy had an strong impact. In the very different repertoire of songs from the bel canto composers, she was entirely secure. In Rossini's salon song La pastorella dell'Alpi, Siurina gave a dazzling display of coloratura, entirely flexible and with firm high notes that were never colourless..." Dominic Lowe, Bach Track, 17 March 2016



Sydney Opera House

'Ekaterina Siurina as Leila has a voice of open ease and fluency and an attractive sound of roundly-focussed clarity and colour in every part of the range.' Peter McCallum, The Sydney Morning Herald, 17 January 2016
'The most outstanding performer on opening night was clearly that of Ekaterina Siurina, as Leila...'
Tom Pillans, Daily Telegraph, 18 January 2016
'Ekaterina Siurina is excellent at the centre of this love triangle, giving a full-blooded and dignified reading of the character...she reveals extraordinary technique and control as the performance goes on, tackling all of Bizet’s vocal runs brilliantly.' Ben Neutze, Daily Review, 18 January 2016
'The vocal star of the show was Russian soprano Ekaterina Siurina (Leila). Strong and agile across her tessitura, she sustained an even, focused tone while astutely infusing it with subtle dynamic shading and nuanced colours.' Murray Black, The Australian, 18 January 2016
'From the moment she sings her first note, Siurina reflects her rigorous Russian training. With supreme confidence, she performs the role of the goddess Léïla, whose songs will protect the pearl divers in their hazardous occupation, while also conveying the passion of a mortal woman deeply in love.' Irina Dunn, Altmedia, 21 January 2016
'Siurina has a stunning clear pure soprano with the tenderness of a woman in love and the desperation to save Nadir.' Jade Kops, Broadway World, 21 January 2016


La traviata

Canadian Opera Company

"Siurina approached her music like a ballerina: graceful and elegant but with a powerful core elevating her into the most complex and varied notes". Christina Strynatka, The Examiner, 10 October 2015
"Ekaterina Siurina and Charles Castronovo, married in real life, made a convincing pair of lovers....the pathos of Act 3 was palpable and her tone was always pure. There was a touching exhibition of bel canto when the reunited couple agreed..." Arthur Kaptainis, National Post, 9 October 2015
..."she used her perfect diction and fine pitch control to bring her vocal character down to our level, where her sound and acting co-existed in solid balance. Siurina could soar when necessary, and provide beautiful tone throughout her range..." Robert Harris, The Globe and Mail, 9 October 2015
..."the luminous performance of Ekaterina Siurina..." Richard Ouzounian, The Star, 14 October 2015



Wiener Staatsoper

"Ekaterina Siurina portrayed a sweet...Gilda... she stood comfortably in Act I's "Caro nome" ("Dearest name") with delightful trills and an easy flexibility through the scales". Paul Selar, Bach Track, 26 June 2015

Rachmaninov Songs

Delphian Records

Ekaterina Siurina’s sweet soprano comes into its own in the Op 38 set, while she and Vinogradov make something special of Two Farewells.
Hugh Canning, The Sunday Times, 23 March 2014
But the early songs have their own power, and Oh Do Not Sing and Spring Waters have justly become classics of the repertoire. They are both attached with fervour here by Siurina and the wirier Vishnevskaya-like Evelina Dobraceva respectively.
Rupert Christiansen, The Telegraph, 27 Feb 2014
'The two soprano's are top note perfect: Ekaterina Siurina, who shows surprising grit in the final sequence composed for the great Nina Koshetz, and the more heroic Evelina Dobraceva.'
David Nice, BBC Music Magazine, 16 April 2014
"Siurina is also assigned the six Koshetz songs, Op 38, a set that shows how far Rachmaninov had come stylistically since the echoes of Tchaikovsky in his earliest songs, and she sings them strongly but with lovely mystic touches that point to the poetry’s alliances with Symbolism.'

Gramophone Magazine, April 24 2014
The two sopranos, Ekaterina Siurina and Evelina Dobraceva, are sharply contrasted, the first light and lyric, the second more dramatic. 

Andrew Clements, The Guardian, 24 April 2014

Amore e morte

Rosenblatt Recital Disc

I am emerging from the Wagner and Verdi year of 2013 very sick of Verdi. It’s not his fault. It’s that 95 percent of the celebrations revolved around Verdi. Not only does Wagner involve challenges and controversy, but Verdi wrote a million operas while Wagner wrote, what, 12? That’s why I laughed when WNED-FM began its yearlong toast to the two composers, working its way through both composers’ output with an opera every week. Guess who got the lion’s share of that? All this actually adds up to a compliment to this album because it has a load of Verdi, and I couldn’t believe that I liked it. Ekaterina Siurina, a soprano with a most pleasant and smooth voice, is actually singing not arias but art songs, not only by Verdi but by Donizetti and Bellini. Iain Burnside accompanies her on piano. (He is really an accompanist, playing quietly and discreetly.) The simple setting plays up the bel canto grace of the writing. You begin to hear how these composers were influenced by Mozart, and what Chopin saw in their melodies. It’s also fascinating to contrast the songs with the composers’ arias, which are much better known. Altogether, a surprising and diverting adventure. This recital is courtesy of Rosenblatt Recitals, described as “the only major operatic recital series in the world.
Mary Kunz Goldman, Buffalo News, 02 Jan 2014
Amore e Morte
Ekaterina Siurina, soprano; Iain Burnside, piano (Opus Arte)

Ekaterina Siurina has the type of soprano voice that’s perfect for sweet soubrette roles: compact, pure and agile, yet with presence and color in its lower range. On a recording of songs by bel canto composers Verdi, Rossini, Bellini and Donizetti, she plays both within and beyond expectations and also shows a particular flair for folk-inflected works.

Verdi’s Violetta comes to mind in his "Stornello" as she sings of being free from love and commitment. In his aria-like "Perduta ho la pace," she comes across as a tragedienne, a role often reserved for fuller voices.

Siurina also offers a vivid interpretation of Donizetti’s sailor song "Amor Marinaro," capturing the seaside lilt as well as the speaker’s fervor. Her ease and sense of character in Rossini’s "La pastorella dell’Alpi," which has yodel-like leaps, charms. So does her embodiment of a blissful chimney sweep in Verdi’s "Lo Spazzocamino" and a gypsy in Donizetti’s "La Zingara."

Throughout, pianist Iain Burnside provides lively accompaniment, mirroring the texts’ varied shades of tremulousness, calm, passion and joy.
Ronni Reich, New Jersey.com, 10 January 2014


Die Zauberflote

Royal Opera House, Covent Garden

But this time round the show is strongly cast. Indeed, I can’t remember for a long time hearing a Pamina as radiant, ripe and vocally expressive as that of Ekaterina Siurina. Her shaping and colouring of Ach, ich fühl’s is breathtaking; her cry of Tamino mein! heart-stopping.
Hilary Finch, The Times, 17 April 2013
The cast was uniformly excellent...Pamina is the more youthful and energetic character, leading the musical conversation to new keys. Hannah Sander, Classical Source, 17 April 2013
Just as impressive, in their totally different style, were the pairing of Charles Castronovo and Ekaterina Siurina as Tamino and Pamina. Castronovo brought a rather Italianate languid nobility to the role – an Enlightenment prince, perhaps, rather than a fairytale one – and both he and Siurina sang with immense lyricism and belief.  David Karlin, Bachtrack, 17 April 2013
There are other excellent reasons to see it, too. Russian singer Ekaterina Siurina steps up to the pinnacle of A-list Mozartian sopranos with her performance as heroine Pamina. Her gleaming sound, flawless technique and energetic acting are worth the price of a ticket alone. Warwick Thompson, The Metro, 18 April 2013


I Capuleti e i Montecchi

Bayerische Staatsoper

München - 'Vergesst Shakespeare' müsste man bei Vincenzo Bellinis Oper 'I Capuleti e i Montecchi' sagen, denn erst die Schlussszene zeigt das tragische Paar der verfeindeten Familien so, wie wir das kennen. Wenn jetzt im Nationaltheater als Romeo erstmals Joyce DiDonato auf Ekaterina Siurina als Julia trifft, dann erleben wir Belcanto pur: Hier der herbe, fein vibrierende Mezzo und eine Frau, die raffiniert und sehr präsent eine draufgängerische Jungmännerrolle spielt, dort der wunderbar gehaltvolle, herrlich phrasierende Sopran und das hinreißende Spiel der Russin als von Lebensangst und Depression beinahe zerfressenem Mädchen, das von seiner Liebe am Ende getötet wird. Suddeutsche.de, 20 February 2013
Ihr sopranist klar konturiert schimmert wie edles Porzellan und füllt trotz aller mädchenhaftigkeit locker das Nationaltheater. Gabriele Luster,Tageszeitung, 20 February 2013


Don Giovanni

Metropolitan Opera, New York

Ekaterina Siurina was delectable in every way as Zerlina. She, too, sidestepped the modern clichés that make her character a conniving minx instead of a flawed but good-hearted country girl. Her voice only really bloomed in the highest reaches of the role, but she seemed genuinely torn in Là ci darem la mano and brought sweetness and warmth to Vedrai, carino. Marion Rosenberg, The Classical Review, 29 Nov 2012



Royal Opera House, London

Ekaterina Siurina has all the right vocal makeup for Gilda. Most Gildas deliver on the innocence and so does Siurina but she also delivers on the pain. Verdi gives us in music an innocent young woman to whom maturity costs agony. Every step of this painful journey has been carefully measured by Ekaterina Siurina, making her one of the most impressive Gildas on today’s scene. Jack Buckley, Seen and Heard, 18 April 2012
Ekaterina Siurina (Gilda) manages this delicate balance with some aplomb: “Caro nome” offered agility and amplitude, the cadenza technically terrific and rapturous. Edward Seckerson, The Independent, 31 March 2012
Ekaterina Siurina brings delicate focus to his daughter, Gilda, John Allison, The Telegraph, 11 Apr 2012


Don Pasquale

Washignton National Opera

"...Siurina is the perfect bel canto heroine, her many arpeggios crisp and bright..."
The Washington Examiner, June 2011


The Magic Flute

Santa Fe Opera

"Ekaterina Siurina made a spectacular company debut as Pamina. The Siberian soprano's voice is so well suited to the heroine's music that Mozart could have written it with her in mind. Rarely will one experience such a wedding of voice to character, with Siurina's purity of tone and gleaming vocalism spoiling audience members for all future Magic Flute productions. The soprano rose to the challenge of Ach, ich fuhls in remarkable fashion, singing this torturous aria with refined expression and ravishing pianissimos, earning her an ovation that nearly stopped the show. Her charming Russian-accented English dialogue was irresistible as well..." Lawrance Johnson, The Classical Review, 17 August 2010


Elisir d'Amore

Houston Grand Opera

"Siurina's enchanting Adina is everything this pert minx should be. She's mischievous, capricious, womanly yet with a warmth and tenderheartedness just waiting to be tapped. Her voice is warm and supple, ringing with bell-like brightness in its upper range yet always mellow. Her peak is Act 2's realization of how much Nemorino has sacrificed for her, which finally melts her heart. She sings/acts this scene so exquisitely that yours will melt a little too." Houston Chronicle, 26th October 2009



Rachmaninov Songs

Rachmaninov Songs

Evelina Dobraceva, Ekaterina Siurina (sopranos), Justina Gringyte (mezzo-soprano), Daniil Shtoda (tenor), Andrei Bondarenko, Rodion Pogossov (baritones), Alexander Vinogradov (bass) & Iain Burnside (piano)

Catalogue No: DCD34127
Release date: 10th March 2014
Barcode: 0801918341274


Amore e morte

Ekaterina celebrates the song-writing talents of four great composers better known for their operas in a recital of flirtatious, passionate and grief-stricken lovers plighting their troths in such cities as Naples, Florence and Venice. 

Ekaterina Siurina, Soprano
Iain Burnside, Piano

Opus Arte


Don Giovanni (Zerlina) [DVD]
Salzburg Festival, Wiener Philharmoniker, Maltman, Kotscherga, Dasch, Polenzani, Roschmann, Schrott, Siurina, Esposito

Unitel Classica


La Clemenza di Tito [DVD] 
Opera National de Paris
Graham, Minutillo, Naglestad, Siurina, Bracht, Pregardien, 

Opus Arte