Svetlana Sozdateleva

Stadttheater Klagenfurt - Shostakovih - Lady Macbeth of Mtzensk

Uneingeschränkt glücklich wird man diesmal auch mit dem Sängerensemble: Svetlana Sozdateleva verausgabt sich darstellerisch und stimmlich bis an ihre Grenzen. Sie ist eine ungemein facettenreiche Katerina Ismailowa, von unbefriedigt über lasziv bis exzessiv.

Berlin Komische Oper - Prokofiev - The Love for Three Oranges - Fata Morgana

Fata Morgana was played by soprano Svetlana Sozdateleva; she sang well and was a good comedian. 

London Philharmonic Orchestra - Wagner - Die Walküre - Brünnhilde

Svetlana Sozdateleva was an excellent Brünnhilde, both commanding and vulnerable.

London Philharmonic Orchestra - Wagner - Die Walküre - Brünnhilde

Svetlana Sozdateleva was the tireless, metallic-sounding Brünnhilde

London Philharmonic Orchestra - Wagner - Die Walküre - Brünnhilde

…a dramatic soprano of striking stage presence, with exactly the “searing glance” needed for the supernatural Valkyrie, Svetlana Sozdateleva, to give of her vocal and dramatic best. 

Greek National Opera - Shostakovich - Lady Macbeth of Mtzensk - Katerina Lvovna Izmailova

The experienced, spirited Russian soprano Svetlana Sozdateleva was a perfect Katerina: young, beautiful, with excellent technique and strong luminous, well-focused, precise voice.

Greek National Opera - Shostakovich - Lady Macbeth of Mtzensk - Katerina Lvovna Izmailova

The impressive Russian soprano Svetlana Sozdateleva, the Lady Macbeth of the title, created a compelling Katerina Ismailova, full of passion and urges, ready to do everything -even murder- and to accept the consequences, to free herself and live love. Following her movement and listening to her robust, shinning voice, we felt her inner struggle, the boredom next to her boring husband, the hatred for the tyrannous lustful father-in-law, the desire and jealousy for Sergei. She became the anti-hero that forces you to like her, even to give reason to her actions, exactly like Shostakovich would have liked.