Ignata, Irina - Mezzo Soprano

 

...This great duo is completed by Irina Maltseva as Margarethe, who is a brilliant actress and has a brilliant voice.

 

Irina Maltseva impresses as Margarethe with her powerful mezzo-soprano and demonstrates a high level of stage presence in her performance.

 

Among the consistently good singers, Irina Maltseva stood out as Margaretha with a good mezzo and intense stage effect.

Irina Maltseva is an ideal Olga in terms of voice and acting.

 

Thus the endearing mezzo and the irreproachably conducted line of Irina Maltseva, Olga who burns the boards.

 

 

As Suzuki, Irina Maltseva presents herself as a defensive, caring servant. Her mezzo shows fine colors and flexibility."

 

It was a performance to which she brought layers of emotional expression; she was uneasy, she was terrified and combative, hysterical and reflective, suffered shame and misplaced guilt, yet it was all perfectly placed and never descended into cliché. Maltseva’s has a flexible, colorful mezzo-soprano with bright piercing top notes and is secure under pressure, all of which made her well-suited to the role.

The scene in which Lucretia relates the events of the night before to her husband, beginning To love as we loved was particularly strong; weaving subtly and carefully crafted phrases Maltseva captured her deep sadness and disembodied state perfectly as she reflected on her love for Collatinus and her shame of being abused.

 

The young mezzoprano Irina Maltseva presents a Lucretia with a differentiated, noble design, credibly uncheesy in her unswerving adherence to marital fidelity, ultimately broken by the shame of rape, which only allows one way out, suicide. With vocal brilliance, she symbolizes purity and innocence.

The Russian mezzo-soprano Irina Maltseva, a guest at the State Theater, is an appearance as Lucretia. With an expressive, very present voice, she is heading towards the fatal end.

 

Irina Maltseva is very well cast as Lucretia, she is very convincing as the suffering woman in trouble of conscience.

 

Irina Maltseva (mezzo-soprano) as Lucretia is able to portray the enormous tragedy of her character in an oppressive and vocally convincing manner.

                                       

 

 

Irina Maltseva (Hansel) and Julia Grüter (Gretel) in their cheerful, childlike fun were wonderfully successful in portraying the siblings' fears and happiness in the dreamy illusion with loving and detailed fine drawings and thus tangibly singing their way into the hearts of even the young premiere audience. They performed their title roles vocally with fresh radiance, so that the masterpieces of childish songs such as Little Brother, Come Dance with Me, Suse Dear Suse or A Little Man Stands in the Forest (in lively dialogue with a fabulous solo flute) came across as carefree and never became placid aria clichés.