Soprano

Albina Shagimuratova

“Shagimuratova is blessed with a perfectly beautiful, elastic whilst at the same time warm voice, possessing a beguiling enamel, which is well dosed and able to transport diva-like pathos.”
bachtrack

Introduction

Soprano Albina Shagimuratova, the “Coloratura Wonder Woman” (die Welt) has been hailed by bachtrack as “a rare and exceptional talent; one that only occurs once a decade” and by the New York Times for her “riveting Lucia”. Since first coming to international attention as the Gold Medal winner in the 2007 Tchaikovsky Competition, Albina has performed at the Royal Opera House Covent Garden, Teatro alla Scala, Wiener Staatsoper, Bayerische Staatsoper, Deutsche Oper Berlin, Staatsoper Hamburg, Lucerne Festival, Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Houston Grand Opera, plus the Mariinsky and Bolshoi theatres. She is regarded as one of the world’s leading interpreters of the role of the Queen of the Night since she made her European opera debut at the Salzburg Festival under the baton of Riccardo Muti.

During the 2018/19 season, Albina returns to Bayerische Staatsoper as Konstanze in Mozart’s Die Entführung aus dem Serail, as well as Wiener Staatsoper and Lyric Opera Chicago as Violetta (La traviata). In addition, Albina will return to the Mariinsky and Bolshoi theatres, by invitation of Valery Gergiev and Tugan Sokhiev respectively, for performances of Il viaggio a Reims, Rigoletto and Lucia di Lammermoor. In concert, Albina will perform Britten’s War Requiem with the Orchestre de Paris, conducted by Daniel Harding.

 To hear and see Albina as Lucia at La Scala follow this link.

Contact


Performance Schedule

 

Repertoire

Ariadne auf Naxos Zerbinetta
Alcina title role
Die Zauberflöte Königin der Nacht
Don Giovanni Donna Anna
Don Pasquale Norina
Entführung aus dem Serail Konstanze
Falstaff Nanetta
Giulio Cesare
Cleopatra
I Capuleti e i Montecchi Gulietta
I puritani Elvira
Il Mondo della Luna Flaminia
Il Turco in Italia Fiorilla
L’elisir d’amore Adina
La fille du régiment Marie
La Sonnambula Amina
Lucia di Lammermoor title role
Lyudmila and Ruslan Lyudmila
Rigoletto Gilda
Rodelinda title role
Semiramide title role
Golden Cockerel Queen of Shemakhana
La traviata Violetta 
Tsars Bride Marfa
Norma title role
Anna Bolena title role
Maria Stuarda title role

Discography

 
  • More info  
    ROSSINI: Semiramide

    Label: Opera Rara

    Release Date: 07 Sep 18

    Gioachino Rossini SEMIRAMIDE

    Tragic melodrama in two acts

    Libretto by Gaetano Rossi after Voltaire’s ‘Sémiramis’

    Semiramide, Queen of Babylon Albina Shagimuratova
    Arsace, Commander of the Army Daniela Barcellona
    Assur, Prince descendant of Belus Mirco Palazzi
    Idreno, King of Indus Barry Banks
    Oroe, High Priest of the Magi Gianluca Buratto
    Azema, Princess descendant of Belus Susana Gaspar
    Mitrane, Captain of the Royal Guards David Butt Philip
    L’Ombra di Nino, Nino’s Ghost James Platt
    Satraps, Magi, Babylonians, Indians, Egyptians, Scythians, Princesses, Citharists, Foreign Gentlewomen Opera Rara Chorus (Madeleine Venner, chorus master)

    Orchestra of the Age of Enlightenment (Matthew Truscott, leader)
    Sir Mark Elder, conductor

    Recorded at Henry Wood Hall, August/September 2016

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    MOZART: die Zauberflöte

    Label: Opus Arte

    Release Date: 28 Feb 12

    Saimir Pirgu, Tamino
    Genia Kühmeier, Pamina
    Alex Esposito, Papageno
    Ailish Tynan, Papagena
    Günther Groissböck, Sarasto
    Albina Shagimuratova, Queen of the Night

    Orchestra & Chorus of La Scala
    Roland Böer, conductor

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    THEOFANIDIS: The Refuge
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    GLINKA: Ruslan and Lyudmila

    Label: Naxos

    Release Date: 23 Jan 17

    Lyudmila – Albina Shagimuratova
    Ruslan – Mikhail Petrenko
    Ratmir – Yuri Minenko
    Farlaf – Almas Svilpa
    Gorislava – Alexandrina Pendatchanska
    Finn / Bayan – Charles Workman
    Naina – Elena Zaremba
    Svetosar – Vladimir Ognovenko
    The Head – Alexandre Polkovnikov

    Bolshoi Theatre Chorus and Orchestra
    Vladimir Jurowski, conductor

  • More info  
    16 Sep 18 Verdi La traviata
    Wiener Staatsoper

    “Shagimuratova’s Sopran ist von stupender Wandlungsfähigkeit. Allein ihre Gestaltung des dritten Akts macht den bemerkenswerten Reichtum vokaler Gestaltungskunst deutlich: Fahl, fast tonlos verwandeln die einleitenden Takte den körperlichen Verfall Violettas in Klang. Der Jubel, der Silberglanz, den der Sopran bei der Wiederbegegnung mit dem Geliebten gewinnt, wächst aus einem hoffnungsvollen Crescendo stimmlicher Koloristik. Dabei führt Shagimuratova ihre Stimme in beispielhaft belcantesker Linie, ganz abgestimmt auf die durchaus dezente Tongebung von Vater und Sohn Germont.”
    Wilhelm Sinkovicz, Die Presse

    “Stimmlich hat sie alles, was zu dieser besonders schwierigen Rolle gehört: Blitzsaubere Koloraturen, Kraft und bombensicher gesetzte Höhen im „Sempre libera…“, berührende leise Töne der Schmerzen und der mentalen wie körperlichen Erschöpfung am Ende. Sie wurde stürmisch gefeiert!”
    Karl Masek, Der neue Merker

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    07 Sep 18 Rossini Semiramide
    Opera Rara

    “Lighting the fuse is Albina Shagimuratova, a singer who New Yorkers mostly know in the title role of Lucia di Lammermoor or as Mozart’s Queen of the Night. As this much more evil monarch, she relishes the spotlight.  Ms. Shagimuratova faces the terrors of this very difficult part with a strong middle range and dazzling highs. More importantly, she delves into the meaning of this text: this is tragedy after all, and succeeds where other sopranos are merely content to approximate some kind of character in this marathon role.”
    Paul J. Pelkonen, paperblog culture magazine

     

    „Die“ Shagimuratova ist längst kein Geheimtipp mehr. Sie wird wohl bald wie andere  Große des Operngesangs ihren Vornamen ‚verlieren‘. Wie einst „die“ Callas „die“ Sutherland, „die“ Freni“. Wie die in Taschkent geborene Russin mit tatarischen Wurzeln  ihre Stimme führt – gerundet von der Mittellage aufwärts, mit dramatischem Nachdruck, wo erforderlich, dabei fast gänzlich ohne Schärfe und mit sensationeller Höhenpracht – ist fantastisch. Allein in der Cavatine im 1. Akt  mit dem Frauenchor (‚Dolce pensiero…‘) brilliert sie mit ihrem obertonreichen Sopran, perlenden Koloraturen, dramatisch zugespitzt und nicht als akrobatische Kehlkopf-Zirkusnummer präsentiert, mühelos selbst bei allen Tönen jenseits des hohen C. Diese werden nicht als Grenztöne, die gerade noch erklommen werden, wahrgenommen, sondern als bombensicher gesetzte Höhe(n)punkte.”

    „La“ Shagimuratova is not an insider tip anymore. She will soon ‘lose’ her first name, just like “la” Callas, “la” Sutherland, “la” Freni. The way the Tashkent born Russian is handling her voice from the middle register upwards, with dramatic emphasis where needed, but almost without any metal and with a sensational high splendour – is fantastic. With the catavina  from the 1. Act alone with the female chorus (Dolce Pensiero) she shines with her soprano, rich of overtones , pearly coloraturas, dramatically to the point and not presented as an acrobatic laryngeal circus number, effortless even all notes beyond the high C, and those aren’t felt as the limit that she could just reach but as rock solid highlights.”


    Karl Masek, Der neue Marker

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    27 Jul 18 Mozart Die Zauberflöte (die Königin der Nacht)
    Salzburg Festival

    “Zauberstimme.”
    Teresa Pieschacon Raphael, Vogue (Germany)

    “Einzig die gehörnte Albina Shagimuratova trifft mit ihren Königinkoloraturen wie Pfeilspitzen in Mozarts Schwärze.”
    Manuel Brug, Die Welt

    “Nur die brillant sternflammende Koloraturenschleuder Shagimuratova erntete – neben den drei Knaben – mehr als höflichen, nämlich dankbar anhaltenden Applaus.”
    Eleonore Büning, NZZ

    “(…) blieb es vor allem Albina Shagimuratova vorbehalten, die Ehre Mozarts zu retten. Was sie denn als Königin der Nacht auch tat, mit viel Temparament und exzellenter Koloraturtechnik.”
    Ursula Ehrensberger, Opernglas

    “Vielen gilt sie als die beste Königin der Nacht.”
    Arnt Cobbers, Fono Forum

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    05 Jul 18 Mozart Die Zauberflöte (die Königin der Nacht)
    Festspielhaus Baden-Baden

    “Während man sich in der Pause fragt, was dieser Aufführung denn noch fehlt, liefert kurz darauf Albina Shagimuratova die Antwort darauf. Ihren ersten Auftritt als Königin der Nacht zeichnet sie noch als besorgte Mutter mit warmer, schmerzhafter Lyrik. Aber dann zeigt sie bei der Arie Der Hölle Rache kocht in meinem Herzen ihr wahres Gesicht. Mit Eiseskälte schleudert sie ihre gnadenlosen Koloraturen und einen wahrhaft gefährlichen „der Mutter Schwur“, der schärfer ist als jener Dolch, der Sarastro töten soll, in den Zuschauerraum, so dass die Zuhörer von Gänsehaut nur so heimgesucht werden. Der Bravosturm, der spontan ausbricht, erinnert an frühere Aufführungen in Baden-Baden. Denn genau solche Ereignisse des Gesangs, in dem Technik und Emotionen sich zum bestmöglichsten Ergebnis eines Augenblicks verbanden, waren es, die die frenetisch gefeierten Sternstunden besiegelten. Genau das erlebt man in dieser Aufführung nur ein einziges Mal.”
    O-Ton

    “Die große Sensation der Baden-Baden-Gala ist Albina Shagimuratova als Königin der Nacht. Auch diese Rolle kann man nicht bezaubernder singen als sie an diesem Abend! Ihr Gesang ist von faszinierender Natürlichkeit, Autorität und Schönheit. Ihre Stimme ist in allen Lagen sensationell dicht und intensiv. Sie verkörpert die Königin der Nacht ganz und gar, geradezu übermenschlich gut und kann scheinbar alles.
    Sie kann herrlich zart singen, aber auch kraftvoll dramatisch und mit sprühendem Feuer. Ihre unfassbar brillant-präzisen und berückend schönen Koloraturen sind nicht von dieser Welt. Die große Arie der Königin der Nacht im zweiten Akt hat das Universum vermutlich selten schöner gehört als in diesen Minuten maximaler sängerischer Schönheit von Albina Shagimuratova […] Albina Shagimuratova als diese Königin der Nacht: Gänsehaut, Spektakel, Schönheit, Perfektion.”

    Sebastian Koik, Klassik Begeistert

     

  • More info  
    11 Jun 18 Rossini Semiramide
    Bayerische Staatsoper, Munich

    “Above all, it was Albina Shagimuratova who left no doubt as to why she is already considered one of the greatest sopranos of her generation. Shagimuratova is blessed with a perfectly beautiful, elastic whilst at the same time warm voice, possessing a beguiling enamel, which is well dosed and able to transport diva-like pathos.
    Every note is absolutely perfect: from the first note to the fading away, and such pure intonation that the vocals meld perfectly with the overtone spectrum of these passages, singing in harmony with the orchestra. One hears such perfection so rarely that that alone takes one’s breath away.
    Looking at the thoughtful development of the parts she has sung to date, and the maturing process that goes with it, it is evident that Albina Shagimuratova is a rare exceptional talent; one that only occurs once a decade, and of which we will hear much more. ”
    Benedikt Zacher, bachtrack

  • More info  
    08 May 18 Verdi Rigoletto
    Deutsche Oper Berlin

    “Intendedly portrayed by the director as a tender soprano doll, Albina Shagimuratova’s Gilda, which grows in vocal size and becomes ever more touching, impresses again and again with delicate high-altitude luminosity and accurate ornamentation.”
    “Die Gilda, Albina Shagimuratova, trägt zum Verdi-Gelingen bei. Gilda, die im schuhschachtelgroßen Verschlag im Theaterunterboden haust, liefert sogar im Liegen glitzernde Koloraturen und leuchtend zarte Attacca-Pianissmi. Als anrührend zartes Sopran-Püppchen von der Regie intendiert, wächst die Russin zu berührender, inwendiger vokaler Größe. So entpuppt sich Albina Shagimuratova als Verdi-Volltreffer und beeindruckt ein ums andere Mal mit zarter Höhenleuchtkraft und akkuraten Verzierungen (ein Genuss die Triller in Caro nome)“
    Opern & Konzert Kritik Berlin

  • More info  
    04 Feb 18 Bellini I puritani
    Lyric Opera of Chicago

    “The singer’s easy, limpid phrasing, bright sound and expressive use of ornamentation made Elvira’s plight very touching.”
    John von Rhein, Chicago Tribune 

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    21 Oct 17 Verdi La traviata
    Houston Grand Opera

    “Her first act showpieces were executed with authority. She demonstrated a controlled, vocally expressive legato in the poignant Ah, fors e lui.  Her Sempre libera demonstrated the command of coloratura fireworks in that has made her Queen of the Night in Mozart’s “Magic Flute” a signature role.”
    Opera Warhorses

     

    “And so Shagimuratova carried the production once again. Using the slanted stage as a natural amplifier, Shagimuratova’s voice rose above the audience. She wasn’t afraid to alter her sound by pressing against the floor, or against the chest of Dimitri Pittas (who co-stars as Violetta’s courter, Alfredo). Doing so angled and often muted her sound, but she did so deliberately to serve the story.”

    “Shagimuratova expressed her character’s perilous societal standing with a blend of vocal, facial and bodily expression.”
    Wei-Huan Chen, Houston Chronicle

    “There was no greater star in this production than soprano extraordinaire Albina Shagimuratova … Her first act aria, in which she debates between her pleasurable and undemanding life in the city and the tribulations of her love for Alfredo was pure, sweet and potent.”
    Joseph Campana, Culture Map Houston

  • More info  
    26 Jun 17 Mozart Mitridate, re di Ponto
    Royal Opera House, Covent Garden

    “Albina Shagimuratova, all too rare a visitor to these shores, rose above the indignities and sang with a beauty that never palled even at volume. The Russian soprano’s grace notes in Aspasia’s second-act showpiece, “Nel grave tormento”, were as sweetly centred and powerful as her sustained lines elsewhere.”
    Mark Valencia, whatsonstage.com

    “Albina Shagimuratova launches herself at some of the most daunting arias — high, low, everything in between — with exciting abandon.”
    Neil Fischer, The Times

    “A honey toned Albina Shagimuratova full of anguish and melancholy…”
    Anthony Evans, Planet Hugill

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    29 Apr 17 Mozart The Abduction from the Seraglio
    Houston Grand Opera

    “Shagimuratova brought such gleam, agility and impact to the blockbuster aria “Martern aller Arten” that it showcased not only her vocal heft, but Konstanze’s indomitable resolve. Shagimuratova’s finesse enabled her to savor the soulful lyricism of “Traurigkeit” — abeted by conductor Thomas Rösner, who made room for the vocal line and the orchestra’s weighty punctuation to register equally.”
    Steven Brown for Texas Classical Review

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    17 Mar 15 Donizetti Lucia di Lammermoor
    Metropolitan Opera

    “Shagimuratova, singing in only her second role at the Met, hits every note squarely with ringing brilliance, and with only a solo flute for accompaniment, exquisitely played by Stefan Ragnar Hoskuldsson, evokes all the pathos of a deranged mind struggling with an ill-fated love.”
    William Hampton, The Huffington Post

    “…the Russian soprano Albina Shagimuratova reached Lucia’s highest notes with crystalline ease.”
    Zachary Woolfe, The New York Times

  • More info  
    14 Aug 14 Britten War Requiem
    Usher Hall

    “Albina Shagimuratova thrills as the voice of the angel. Magnificent.”
    Gordon Parsons for the Morning Star

    “A full-strength Festival Chorus sang the Latin text of the Mass, combining seamlessly with Shagimuratova’s golden soprano solos in Dies Ira and the Sanctus.”
    Iain Gilmour for EdinburghGuide.com 

  • More info  
    18 Aug 14 Rachmaninov The Bells
    BBC Proms

    “It helped that he had three pitch-perfect soloists in Stuart Skelton, Albina Shagimuratova and Mikhail Petrenko (…) Shagimuratova plangently mingled rapture with disquiet in the “Mellow Wedding Bells” movement.”
    Edward Seckerson for The Arts Desk

  • More info  
    18 Mar 14 Donizetti Lucia di Lammermoor
    LA Opera
    “a dominant force, first among a cast of equals, as she reined in her power to skillfully delineate Lucia’s increasing isolation and mental decline, seeming as
    fresh vocally in her climactic 16-minute mad scene as she was at the beginning of the opera. Perhaps she could have gone on for another virtuosic quarter-hour.
    She earned the thunderous ovation she got at its end.”

    LA Times

    “an unambiguous triumph… In this most lustrous of the coloratura diva roles, Shagimuratova was a phenomenon, handling the part’s serene legato passages effortlessly, while dashing off the coloratura trills and cadenzas with seeming perfection.”

    OperaWarhorses.com

    “Shagimuiratova provided a show by herself. (…) as Lucia, she negotiated Donizetti’s hire-wire somersaults with ease and knocked everyone’s socks off. It’s a gorgeous voice, opulent and bejeweled, with a surprising volume and penetration for all its basic delicacy.”
    The OC Register

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    01 Feb 14 Donizetti Lucia di Lammermoor
    Teatro alla Scala
    “Shagimuratova performs with expressive virtuosity and intense involvement”

    “Shagimuratova esegue con virtuosismo espressivo, e densità di partecipazione”
    Margherita Rubino for Il Secolo XIX

  • More info  
    17 Apr 13 Mozart Die Zauberflöte
    Royal Opera House Covent Garden

    “Albina Shagimuratova’s show-stealing Queen of the Night is electrifyingly accurate”
    Tim Ashley for The Guardian 

    “Brindley Sherratt’s Sarastro is one of the best this production has seen. […] Likewise with Albina Shagimuratova’s Queen of Night: every note is luminescent, star-bright and perfectly placed in the constellation.”
    Hilary Finch for The Times 

    “Possessed of a large voice with laser like attack, she cuts a formidable vocal figure. She was also an imposing presence on stage.”
    Sebastian Petit for Opera Britannia 

    “But the highest accolades go to Albina Shagimuratova as the Queen of the Night […] she has real presence;  this was an exceptional performance. ‘Der Hölle Rache’ was a revelation combining sumptuousness, subtlety and accuracy in the execution of every note, and demonstrating impeccable phrasing.”
    Sam Smith for Music OMH 

    “The cast is exceptional:  […] Albina Shagimuratova’s lightweight but secure Queen of the Night”
    Simon Thomas for What’s on stage 

    “Albina Shagimuratova, brings a magnificent stridency to that role. She only has two real arias in the opera but both are absolute raging show-stoppers, and Shagimuratova delivers them impeccably. I doubt that I have ever heard such a pure, crystal-shattering tone. With such a cast, McVicar’s Flute really is Magic.”
    William Hartston for the Express 

    “Albina Shagimuratova brought red-blooded force to her precisely-pitched coloratura passages.”
    Mark Valencia for What’s on stage 

    “Albina Shagimuratova, in her (house) debut, was a sparking Queen of the Night. She nailed all the coloratura and was supported by Jones in a rather large way, no small feat. Her second, more famous, aria “Der Hölle Roche” was excellent”
    Michael Migliore for Musical Criticism 

  • More info  
    27 Feb 13 Verdi Rigoletto
    Lyric Opera of Chicago

    “And in Albina Shagimuratova, the superb Russian soprano who was making her Lyric debut as Gilda, the company has found a shining star indeed. She walked away with the show.

    Gilda is, of course, one of the great coloratura soprano roles in Italian opera, and Shagimuratova fulfilled its every requirement thrillingly. She traced the florid phrases of “Caro nome” with meltingly expressive phrasing, ample colorings and a clear, shining, beautiful sound that carried easily over the orchestra. Where full-bodied lyricism was needed, notably in Gilda’s two duets with her father, her singing went straight to the heart.

    Indeed, Gilda’s dying fade to a hushed pianissimo held the audience at rapt attention at the very end. Not for nothing did the soprano receive a rapturous standing ovation on opening night. Get used to the name; you can be sure Lyric will be inviting her back.”
    John von Rhein for Chicago Tribune 

    “Russian soprano Albina Shagimuratova, was utterly luminous as Rigoletto’s innocent, teenage daughter, Gilda. […] A young soprano whose career is taking her to the major American and European operas houses, Shagimuratova was a thrilling Gilda. Her soprano is clear and pure, and in the dulcet aria “Caro nome,” her phrases blossomed and melted away like gentle caresses. She was every inch the innocent girl basking in the glow of her first real romance.”
    Wynne Delacoma for Chicago Sun Times

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    01 Feb 12 La Traviata, February 2012
    Houston Grand Opera
    “Coming up through the ranks of HGO’s studio program, soprano Albina Shagimuratova, like mezzo Joyce DiDonato, is a success story and house favorite. A natural coloratura, she can blaze through signature roles like Mozart’s treacherously thrilling Queen of the Night in Magic Flute or early Verdi’s warbler Gilda in Rigoletto. She can toss off high Fs with flawless technique, silkily maneuvering through rollercoaster roulades as if skiing blindfolded. There’s no denying the beauty of her voice”

    D.L. Grooverfor Houston Press, February 2012

    “Friday night at Houston Grand Opera the unforgettable voice belonged to Russian soprano Albina Shagimuratova as Violetta Valéry. Program notes describe her as “today’s reigning Queen of the Night” in Mozart’s Die Zauberflöte. She certainly reigned on the Wortham stage, Mozart or not, winning a heady standing ovation at the curtain call. If you saw her last year in HGO’s Lucia di Lammermoor, you know the experience. Shagimuratova’s Verdi, however, is just as thrilling as her Donizetti, perhaps even more.Shagimuratova changes voice and character as necessary to the action unfolding in each act, from a party gal at the beginning to a vulnerable wisp of half-dead beauty at the end.”

    Theodore Bale for Houston Culture Map, February 2012

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    01 Jun 12 Magic Flute, June 2012
    San Francisco Opera
    “The audience favorite, though, was Russian soprano Albina Shagimuratova, in a bravura company debut as the Queen of the Night. She did well in her Act 1 aria, then brought down the house with a dazzling, pinpoint delivery of the Act 2 showpiece.”

    Joshua Kosman for San Francisco Chronicle, June 2012

    “Shagimuratova is simply breathtaking. Forceful and vehement in her lower range, she is remarkably, strong, focused, and spot on as she ascends to a high F above high C. She may not sound vengeful in the stratosphere, but she produces the Queen’s highest notes with a round, glowing brilliance you will be lucky to experience again in your lifetime. You absolutely must hear her.”

    Jason Victor Serinus for San Francisco Classical Voice, June 2012

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    01 Sep 12 Rigoletto, September 2012
    San Francisco Opera
    “We were fortunate to have so vocally accomplished a Gilda as Shagimuratova. … Gifted with a voice of tremendous size and power, she exhibited considerable control of it, at times tapering to a lovely pianissimo that drew me forward in my chair to hear the secure, pretty tone.”

    Jeffery S McMillan for Bachtrack,September 2012

    “But Shagimuratova, who sang a remarkable Queen of the Night in “The Magic Flute” earlier this year, was my favorite. She projects spectacularly, as few singers can. Her bright, rich voice filled the huge War Memorial in a seemingly effortless performance; she even sang her big, challenging aria “Caro nome” reclining on her back. “When you’ve got it, flaunt it,” said the gesture.”

    Janos Gereben for San Francisco Examiner, September 2012

    “Saturday’s Gilda, Russian soprano Albina Shagimuratova, took a more traditional approach, delivering the score’s coloratura flights with spotless precision and lustrous tonal beauty.”

    Joshua Kosman for San francisco Gate, September 2012

VIDEO PORTRAIT

For a film about Albina, please click this link