KristineOpolais
Representation
About Kristine
In the 2024/25 season, Kristine will make her debut at Oper Leipzig, singing Katerina Izmailova in Lady Macbeth of Mtsesnk, conducted by Andris Nelsons and also returns to her signature role of Cio-Cio San in Madama Butterfly at Tenerife Opera and Sofia Opera. On the concert scene, she will sing Shostakovich's Symphony no.14 at Finnish National Opera and Gewandhaus Leipzig, gala concerts in Antwerp, Krakowand Saltillo, Mexico with Stephen Costello and a recital at Shanghai Oriental Art Center with collaborator Agnese Eglina.
Highlights of Ms. Opolais’ 2023/24 season included a a concert performance of Shostakovich’s Lady Macbeth of Mtsensk with the Boston Symphony Orchestra at Carnegie Hall and at Boston Symphony Hall, led by Andris Nelsons. She will revive the role of Katerina Izmailova in a major return to Hamburgische Staatsoper to finish the season. Last season also saw her greatly-anticipated return to the title role of Verdi’s Aida, in a new production at Lithuanian National Opera. She joined celebrated pianist Agnese Egliņa for a series of recitals in Latvia, Hungary and Brazil.
Other recent highlights include Opolais singing the role of Cio-Cio San at the Teatro Municipale Giuseppe Verdi Salerno. Critics raved about her “highly moving” performance, saying she “leads the character with perfection, she is THE Madame Butterfly, and she has endless power over the personality.”
Representation
Season Highlights
Video
Kristine Opolais sings "Song to the Moon"
Kristine Opolais singing "Song to the Moon" from Dvořák's Rusalka, during The Royal Opera: Live in Concert, conducted by Antonio Pappano. Credit: Royal Opera House
PlayingKristine Opolais sings Butterfly
Kristine Opolais sings "Un bel dì, vedremo" from Puccini's Madama Butterfly with the Mannheim Philharmoniker, conducted by Boian Videnoff. Credit: Mannheimer Philharmoniker
Playing
Selected Repertoire
| Bellini | Norma (Title Role) |
|---|---|
| Boito | Mefistofele (Margherita) |
| Cilea | Adriana Lecouvreur (Title Role) |
| Dvořák | Rusalka (Title Role) |
| Poulenc | La Voix Humaine |
| Puccini | Gianni Schicchi (Lauretta) • La bohème (Mimi) • Madama Butterfly (Cio-Cio San) • Manon Lescaut (Manon) • Suor Angelica (Title Role) • Il Tabarro (Giorgetta) • Tosca (Title Role) |
| Shostakovich | Lady Macbeth of Mtsensk (Katerina) |
| Verdi | Un ballo in Maschera (Amelia) • Aida (Title Role) • Simon Boccanegra (Amelia) |
Sample Programmes
Recital Programme
VERDI: Aida – „Ritorna vincitor!” – Aida’s aria from Act 1 CILEA: Tre pezzi – Romanza, op. 29, no. 1 CILEA: Adriana Lecouvreur – Intermezzo (arranged for solo piano) CILEA: Adriana Lecouvreur – „Del sultano Amuratte m'arrendo all'imper… Io son l’umile ancella” – Adriana’s aria from Act 1 CILEA: Adriana Lecouvreur – “Poveri fiori” – Adriana's aria from Act 4 VON WILM: Aus der Skizzen-Mappe – Abendstunde, op. 230, no. 6 VON WILM: Sommerfäden – Junges Leid, op. 12, no. 2 VON WILM: Trifolium, op. 116 VERDI: La forza del destino – „Pace, pace mio Dio” – Leonora’s aria from Act 4 --- Interval --- PONCHIELLI: La Gioconda – „Suicidio!... In questi fieri momenti” – Gioconda’s aria from Act 4 PUCCINI: Manon Lescaut – Intermezzo (arranged for solo piano) PUCCINI: Madama Butterfly – „Un bel dì vedremo” – Cio-Cio-San’s aria from Act 2 PUCCINI: Madama Butterfly – Humming Chorus from Act 2 (arranged for solo piano) PUCCINI: Madama Butterfly – „Tu, tu, piccolo iddio” – Cio-Cio-San’s aria from Act 3 DEBUSSY: Suite bergamasque – Clair de lune, L. 75, no. 3 DVOŘÁK: Rusalka – „Měsíčku na nebi hlubokém” – Rusalka’s Song to the Moon from Act 1
News
Press
Lady Macbeth of Mtsensk
Hamburgische StaatsoperMay 2024Unsere Lady Macbeth des Abends heißt Kristīne Opolais, an diese komplizierten Namen und ihre Unübersichtlichkeit muss sich der geschätzte Leser schon mal besser einstellen, man verliert sich wie bei Dostojewski geradezu in ihnen: Sie ist für mich wunderbar besetzt, in Höhen und Juchzen und Klagen wirklich mitreißend, und schön, und auch von sehr ansprechender Gestalt, wenn man es sagen darf." "Our Lady Macbeth of the evening is called Kristīne Opolais, the esteemed reader will have to get used to these complicated names and their confusion, you almost lose yourself in them, as with Dostoyevsky: For me, she is wonderfully cast, really stirring in the high notes and cheers and laments, and beautiful, and also of a very appealing character, if I may say so
- Klassik Begeistert
- 13 May 2024
Doch wenn Kristīne Opolais als Katerina Lwowna Ismailowa auftritt, schlägt die Stimmung im Orchester ins heldenhaft-zärtliche um. So klingt keine Mörderin, sondern eine Heroine. Opolais greift diesen Ansatz dankbar und phasenweise ausgezeichnet auf." "But when Kristīne Opolais appears as Katerina Lvovna Ismailova, the mood in the orchestra changes to a heroic and tender one. That's not what a murderer sounds like, but a heroine. Opolais takes up this approach gratefully and at times excellently.
- Klassik Begeistert
- 18 May 2024
