Olga Peretyatko - Soprano

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Biography
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Olga Peretyatko, one of the most sought-after sopranos of our times, was born and raised in St. Petersburg, Russia. She started her musical career at the age of 15, singing in the children's choir of the Mariinsky Theatre. She completed a course as a choirmaster and then enrolled to study singing at the Hanns Eisler Hochschule für Musik in Berlin. Olga Peretyatko has won several awards in international competitions such as Operalia, the opera competition organized by Plácido Domingo, where she won second prize, and she also recently received in Italy the important recognition of the Premio Franco Abbiati della Critica Musicale Italiana.

From 2005 to 2007 Olga Peretyatko was a member of the opera studio at the Hamburg State Opera. In subsequent years she performed at the Deutsche Oper Berlin, the Berlin and Munich State Operas, the Théâtre des Champs-Elysées in Paris, La Fenice in Venice, the Rossini Opera Festival in Pesaro and the Festival La Folle journée de Nantes.

Olga Peretyatko gained international attention as Stravinsky's Rossignol in the acclaimed Robert Lepage production that premiered in Toronto in 2009, then presented at the Aix Festival in 2010 and subsequently at the Opéra Lyon, the Brooklyn Academy of Music in New York and the Netherlands Opera in Amsterdam. She achieved great success in her role debuts as Adina in L'elisir d'amore in Lille, as Lucia di Lammermoor at the Teatro Massimo Palermo, as Gilda in Rigoletto at La Fenice in Venice as well as at the Avenches Opera Festival.

In 2011, Olga Peretyatko debuted successfully as Giulietta (I Capuleti e I Montecchi) in Lyon and Paris. In Lausanne she made her debut in the title role of Handel's Alcina, and in Amsterdam she had her role debut as Fiorilla (ll Turco in Italia). Substituting for a colleague at the last minute, her performance of Adina in L'elisir d'amore during the Pfingstfestspiele in Baden-Baden was praised, as was her debut at the Deutsche Oper Berlin with Lucia di Lammermoor. She also received the highest acclaim at the Rossini Opera Festival in Pesaro as Matilde di Shabran in summer 2012, a production released on DVD by DECCA.

In 2013 and 2014, Olga Peretyatko's commitments included the Mozart Weeks, Salzburg Festival (Giunia in Lucio Silla), debuts at the Vienna State Opera, Zurich Opera House (Rigoletto), the Berlin State Opera and La Scala in Milan (Marfa in Die Zarenbraut), and performances at the Deutsche Oper Berlin (Adina in L'elisir d'amore), the Hamburg State Opera (Adina in L'elisir d'amore, Zerbinetta in Ariadne auf Naxos), and her successful debut at the Metropolitan Opera in New York (Elvira in I Puritani). She returned to the Festival d’Aix-en-Provence and to the Bavarian State Opera in Munich as Fiorilla (Il Turco in Italia), and sang Amenaide in Tancredi in Moscow (concert), L'Elisir d'amore at the Teatro San Carlo in Naples, and toured in China with the Orchestre symphonique de Montréal performing Strauss' Four last songs.

In 2015, Olga Peretyatko debuted with rave reviews as Violetta in La Traviata at the Opéra de Lausanne, followed by a new production of the same title at the Festspielhaus in Baden-Baden. She returned to the Vienna State Opera for I Puritani, to La Scala in Milan for Rossini's Otello, to the Metropolitan Opera in New York for Rigoletto, along with debuts at the Teatro Regio in Turin in I Puritani, at the Tivoli in Copenhagen and at La Monnaie in Bruxelles in L'Elisir d'amore and at the Teatro Real in Madrid in Rigoletto, and she started off into 2016 with a highly successful tour to Baden-Baden, Vienna and Paris (Théatre des Champs-Elysées) performing concerts entirely dedicated to Gioacchino Rossini, as well with an equally successful return to the Vienna Staatsoper with ‘Gilda’ in ‘Rigoletto’ and her highly attended debut in her hometown with ‘La Traviata’ at the Marinsky Theatre conducted by Valerij Gergiev, followed by a spectacular house debut at the Opéra Bastille in Paris in one of her signature roles, ‘Gilda’ in  Verdi’s Rigoletto.

Autumn 2016 was entirely dedicated to W.A.Mozart, when Olga Peretyatko debuted two highly attended new roles – ‘Donna Anna’ in Don Giovanni (at the Staatsoper Berlin) and ‘Konstanze’ in Die Entfuehrung aus dem Serail (at the Oper Zuerich as well as at the Deutsche Oper Berlin). In March 2017 she had her highly successful debut at the New National Theatre Tokyo followed in a new production of Donizetti’s Lucia di Lammermoor.

Another exciting role debut will be as the attending artist in 2017: ‘Leila’ in Bizet’s Les Pecheurs des Perles, in a new production at the Staatsoper Berlin, Wim Wender’s first opera staging under the baton of Daniel Barenboim.

Subsequent debuts are planned to take place at the Opéra de Monte-Carlo and the Royal Opera House Covent Garden, and she will also return in present and upcoming seasons to the Metropolitan Opera in New York, the Vienna State Opera, the Berlin State Opera and the Deutsche Oper Berlin, the Teatro Real in Madrid, La Scala in Milan and the Festspielhaus Baden-Baden, preparing further role debuts like Amina (La Sonnambula), ‘Norina’ (Don Pasquale), Anna Bolena and Maria Stuarda (title roles) and all four roles (Olympia-Antonia-Giulietta-Stella) in Les Contes d’Hoffmann and also ‘Pamina’ in Mozart’s The Magic Flute as well ‘Contessa’ in Mozart’s Le Nozze di Figaro.

Besides her opera career, Olga Peretyatko performs regularly in recitals and concerts throughout the world. She also performed for more than 600,000 people at Le Concert de Paris on 14 July 2014 for the Bastille Day celebrations by the Eiffel Tower.

She has an exclusive recording contract with Sony Classical. Her first solo CD La Bellezza del Canto with Arias from Rossini, Verdi, Donizetti, Massenet and Puccini was released in 2011 and her second recording Arabesque was released in 2013, both to critical acclaim. Her third album, entirely dedicated to Gioacchino Rossini, Rossini!, was  released in autumn 2015,  earning rave reviews and recently winning the prestigious ‘Echo Classic Award’ in Germany for the ‘best album of opera arias’.

(March 2017)

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