Evelina Dobračeva


A soprano of immensely promising talent, Evelina Dobračeva began her career singing under the tuition of Professor Norma Sharp, Snezana Brzakovic and Professor Julia Varady at the Hanns Eisler Music College in Berlin, and she has participated in masterclasses with Professor Dietrich Fischer-Dieskau, Professor Thomas Quasthoff and Peter Konvitschny.

Roles have included Micaela Carmen, Violetta La Traviata at the Cologne Opera and Fiordiligi Cosi fan tutte for the Verbier Festival. Recent concert repertoire includes; Britten's War Requiem, Shostakovich Symphony No.14, Shostakovitch Opus 127, Beethoven Symphony No. 9, Verdi’s Requiem, Britten The Poet's Echo and Brahms Ein Deutsche Requiem.

Future engagements include Semyon Kotko at the Concertgebouw Amsterdam, Verdi Requiem with the Royal Scottish National Orchestra, Tosca with the Tulsa Opera and Eugene Onegin with the Boston Youth Symphony Orchestra.

Evelina’s discography includes Dargomyzhki's Rusalka recorded with the WDR in Cologne, conducted by Mikhail Jurowski and Britten’s War Requiem recorded with the Nederlands Radio PO. She also features on the Rachmaninov Songs disc recorded with the pianist Iain Burnside, released on Delphian.

[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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BOITO Mefistofele (Margarita)
BIZET Carmen (Micaela)
DVORAK Rusalka
JANACEK Katya Kabanova (Katya)
JANACEK Jenufa (Jenufa)
LEONCAVALLO Pagliacci (Nedda)
MOZART Le Nozze di Figaro (Contessa)
MOZART Cosi fan tutte (Fiordiligi)
MOZART Don Giovanni (Donna Anna)
MOZART Idomeneo (Elettra)
MOZART La Clemenza di tito (Vitellia)
OFFENBACH Les Contes d’Hoffmann (Antonia)
PROKOFIEV Semyon Kotko
PUCCINI La Boheme (Mimi)
PUCCINI Gianni Schicchi (Lauretta)
PUCCINI Tosca (title role)
PUCCINI Turandot (Liu)
PUCCINI La Rondine (Magda)
STRAUSS Ariadne auf Naxos
SHOSTAKOVICH Lady Macbeth of the Mtsensk 
TCHAIKOVSKY Eugene Onegin (Tatyana)
TCHAIKOVSKY Iolanta (Iolanta)
TCHAIKOVSKY Queen of Spades (Liza)
VERDI Attila (Odabella)
VERDI Falstaff (Alice Ford)
VERDI Simon Boccanegra (Amelia)
VERDI La traviata (Violetta)
WEBER Der Freischutz (Agathe)


BEETHOVEN Symphony No. 9
BRAHMS Requiem
BRITTEN War Requiem
BRITTEN The Poet's Echo
DVORAK Stabat Mater
MAHLER Symphony No. 4
MOZART C Minor Mass
MOZART Requiem
ORFF Carmina Burana
PERGOLESI Stabat Mater
VERDI Requiem

Please contact Sophie Robertson for a full repertoire list.

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    The Ballade for the Boy Who Remained Unknown



Concertgebouw Amsterdam, AMSTERDAM

PROKOFIEV 'Semyon Kotko'

Conductor: Vladimir Jurowski

Semjon Kotko: Oleg Dolgov
Semjons mother: Alexandra Durseneva
Frosja: Alexandra Kadurina
Remenjoek: Vladimir Ognev
Tkatsjenko: Maxim Mikhailov
Chivrja: Irina Dolzhenko
Sofja: Lyubov Petrova
Tsarjov: Andrey Breus
bandura player: Evgeny Polikanin
Mikola: Boris Rudak
Ivasenko / 2nd old man: Leonid Zimnenko
field worker: Vladimir Kasatschuk
Von Wierhof: Tim Kuypers
German officer/1st Old man: Vitali Rozynko

Netherlands Radio Philharmonic Orchestra and Choir

Usher Hall Edinburgh, EDINBURGH

VERDI Requiem

Conductor: Carlos Miguel Prieto

Mezzo-soprano: Elizabeth DeShong
Tenor: Edgaras Montvidas

Royal Scottish National Orchestra
RSNO Chorus

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Cincinnati Opera

'Evelina Dobračeva leaves no doubt that Floria Tosca is a diva, but her acting of the role is honest and down-to-earth. In addition to being a ravishing beauty, Ms. Dobračeva is an intelligent singer who inflects every word with meaning. And she can sing: the role is full of traps for any soprano not up to the task. Her two extended scenes with Mario and her Act II Vissi d’arte were beautifully sung, and her tug-of-war with Scarpia (also in Act II) allowed her to freely use parlando for those moments in which bel canto is not what’s needed.' Rafael de Acha, Seen and Heard, 24 July 2016
'A stunning new production, a radiant soprano in the leading role and Puccini’s unforgettable melodies added up to a thrilling “Tosca” at Cincinnati Opera on Saturday. In her American operatic debut, Dobračeva proved to be an artist who possesses immense vocal gifts as well as natural dramatic instincts.

Perhaps most refreshing was the vibrancy she brought to her character. This was a Tosca who was young, in love and full of vitality. In her charming display of jealousy at the portrait of Mary Magdalen, she unveiled a creamy voice that was able to soar over the large orchestra without a note of harshness.

She magnificently communicated Tosca’s emotional journey... Then there was the famous aria, “Vissi d’arte,” a deeply affecting prayer, sung with mesmerizing beauty and palpable heartache.'
Janelle Gelfand, Cincinnati.com, 24 July 2016


War Requiem

Royal Albert Hall

As Britten intended, the three soloists represented three of the main players in the second world war: Russia, Germany and the UK. Soprano Evelina Dobračeva cut through from the back of the platform with a similar authority to her great Russian predecessor, Galina Vishnevskaya. Richard Fairman, Financial Times, 10 November 2014


War Requiem

Atlanta and Carnegie Hall

Dobračeva, who had most recently performed “War Requiem” this past November in Edinburgh and Glasgow, brought both intensity and eminent presence to her part. 

Mark Gresham, Arts Atlanta, April 26 2014
Russian Evelina Dobracheva soared high–and clear–over the chorus, her passage in Libera Me was almost frightening in its drama. Harry Rolnick, ConcertoNet, May 2 2014
Evelina Dobraceva’s voice was gleaming, focused and powerful, though sometimes steely. Still, the integrity and fervor in her singing won me over... ANTHONY TOMMASINIMAY, New York Times, 2 May 2014


Rachmaninov Songs Disc

Delphian Records

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
'Dobraceva’s warmth in ‘Melodiya’ (‘Melody’, No 9). The men, too, excel in matters of characterisation and tonal colour' Gramophone Magazine, April 24 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
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


War Requiem

Glasgow Royal Concert Hall

'And the singing, from on high, of Russian soprano Evelina Dobraceva, replacing Susan Gritton, was lacerating in its intensity'
Michael Tumelty, The Herald Scotland, 18 November 2013


War Requiem

Usher Hall, Edinburgh

'Of the soloists, Evelina Dobraceva (replacing Susan Gritton) was a soaring ethereal presence, and notably exquisite in the Lacrimosa. The male duo – lyrical tenor Jeffrey Francis and soft-grained baritone Russel Braun – drew poignant humanity from Owen’s poetry.'
Kenneth Walton, The Scotsman, 16 November 2013


War Requiem

St Paul's Cathedral

Soprano Evelina Dobraceva, replacing Albina Shagimuratova, had something of the vocal tang and implacable delivery of Galina Vishnevskaya, for whom the part was written. 
Tim Ashley, The Guardian, 26 June 2013



Cologne Opera

"In der mitreißenden Interpretation der Sopranistin Evelina Dobraceva wurde bereits die Auftrittsarie der Odabella zu einem Ereignis. Sie meisterte diesen vokalen Parforce-Ritt mit Herz und Virtuosität." Bernhard Hartmann, General Anzeiger, 23 June 2013


Altenberg Lieder

Mini Mahler Festival, Philharmonie Berlin

…The ensemble proves itself musically in the second half with the soprano Evelina Dobraceva, who, above all, securely masters her intonation and convinces us well in a sovereign perform-ance of Alban Berg´s Altenberg-Lieder... Matthias Nöther, Berliner Zeitung, 02 July 2011



Royal Festival Hall

...I've left the best until last...Soprano Evelina Dobraceva was quite wonderful. She has a spinto-lyrical quality to her voice which enables her to easily assail the taxing soprano part and is not unlike Angela Gheorghiu or Katia Ricciarelli. Her contributions earlier on, where the soprano is mostly singing in ensemble with other soloists were extremely fine, vocally assured and radiant. On reaching "Libera me" one sensed she knew her big moment has arrived and she tensed up a little. Happily, she recovered to deliver ethereally floated high notes in the Andante reprise of the the Requiem's opening section which were utterly divine and recalled Desdemona's "Ave Maria". She responded to the dramatic episodes with suitable spinto attack and her phrasing was supberb. I'd dearly love to see her in a staged Verdi role - Desdemona or Amelia in Boccanegra, perhaps? I see that Violetta is on the horizon as well. Ms Dobraceva represented Germany in the 2007 Cardiff Singer competition. I sincerely hope she will return for future London engagements soon. In this very successful, gripping performance, Hill's fiery conducting and Dobraceva's singing will live longest in the memory." Mark Pullinger, Opera Brittanica, 06 March 2010



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



War Requiem

Jaap van Zweden
Reinbert de Leeuw
Celso Antunes: choir conductor

Evelina Dobracheva: soprano
Anthony Dean Griffey: tenor
Mark Stone: baritone
Netherlands Radio Philharmonic Orchestra
Netherlands Radio Choir 
Netherlands Children's Choir
Challenge Classics


Alexander Dargomyschsky: Russalka

Evelina Dobraceva,
Arutjun Kotchinian
Vsevolod Grivnov,
Marina Prudenskaja,
Elena Bryleva,
WDR RO Köln,
Michail Jurowski

Label: Profil , DDD, 2008

Profil, DDD