Zoya Tsererina
Honored Artist of Tatarstan, possessing a powerful and expressive voice of rare beauty and range.
Her repertoire includes leading roles in both mezzo-soprano and soprano parts, performed on major stages across Russia and Europe.
Her repertoire includes leading roles in both mezzo-soprano and soprano parts, performed on major stages across Russia and Europe.
She graduated from the Nizhny Novgorod State Conservatory named after M. I. Glinka, where she studied in the class of Professor Svetlana Livshina (mezzo-soprano). She undertook further training with Valentina Levko, Craig Rutenberg, and David Abramovitz, and participated in masterclasses by Elena Obraztsova and Renata Scotto.
Zoya is a laureate and prizewinner of international and national competitions, including Bella Voce (Moscow), Competitione della Opera (Dresden), the M. Balakirev Competition (Nizhny Novgorod, First Prize), as well as opera competitions in St. Petersburg and Verona.
Zoya is a laureate and prizewinner of international and national competitions, including Bella Voce (Moscow), Competitione della Opera (Dresden), the M. Balakirev Competition (Nizhny Novgorod, First Prize), as well as opera competitions in St. Petersburg and Verona.
Since 2004, Zoya Tsererina has been a soloist at the Saint Petersburg Opera Theatre, where she performed the roles of the Princess de Bouillon (“Adriana Lecouvreur” by Cilea), Lucretia (“The Rape of Lucretia” by Britten), Fidalma (“The Secret Marriage” by Cimarosa), Olga, Larina, and the Nurse (“Eugene Onegin” by Tchaikovsky).
Since 2007, she has been a soloist at the Musa Jalil Tatar State Academic Opera and Ballet Theatre in Kazan, where she has performed a wide range of leading roles, including Carmen (Bizet), Amneris and Aida (“Aida”), Fenena and Abigaille (“Nabucco”), Maddalena (“Rigoletto”), Tosca and Turandot (Puccini), Suzuki (“Madama Butterfly”), Zerlina (“Don Giovanni” by W. A. Mozart), Lisa and Polina (“The Queen of Spades”), Marina Mnishek and the Innkeeper (“Boris Godunov”). With the theatre, she has toured in the Netherlands, Belgium, and Spain.
Since 2007, she has been a soloist at the Musa Jalil Tatar State Academic Opera and Ballet Theatre in Kazan, where she has performed a wide range of leading roles, including Carmen (Bizet), Amneris and Aida (“Aida”), Fenena and Abigaille (“Nabucco”), Maddalena (“Rigoletto”), Tosca and Turandot (Puccini), Suzuki (“Madama Butterfly”), Zerlina (“Don Giovanni” by W. A. Mozart), Lisa and Polina (“The Queen of Spades”), Marina Mnishek and the Innkeeper (“Boris Godunov”). With the theatre, she has toured in the Netherlands, Belgium, and Spain.
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Above all, Zoya Tsererina, who endowed the title role with great vocal dramatic intensity. Every high note sounds pure, while in the lower register the singer—who began her career as a mezzo-soprano—remains vividly expressive.
In the role of Gioconda, Tsererina, even at the peak of jealous passion, preserves a noble, rather lyrical tone. She emphasizes the character’s positive qualities—her capacity for love and self-sacrifice: in Tsererina’s interpretation, Gioconda unquestionably belongs among the “bright” heroines.
In the role of Gioconda, Tsererina, even at the peak of jealous passion, preserves a noble, rather lyrical tone. She emphasizes the character’s positive qualities—her capacity for love and self-sacrifice: in Tsererina’s interpretation, Gioconda unquestionably belongs among the “bright” heroines.
Since 2016, the singer has been actively performing on the international stage. Notable appearances include Maddalena di Coigny (“Andrea Chénier,” Bilbao), Abigaille (“Nabucco,” Gothenburg Opera, production by Jacopo Spirei, 2023), Lisa (“The Queen of Spades,” Teatro di San Carlo, Naples, production by Willy Decker, 2019), and the Foreign Princess (“Rusalka,” Glyndebourne Festival, production by Melly Still, DVD recording, 2019).
In 2023, she performed the role of Turandot at the Deutsche Oper Berlin (production by Lorenzo Fiorini), as well as in theatres in Bonn and Dortmund, and at the José Carreras Festival in Bangkok. She was also nominated for the national opera award “Onegin” (Yekaterinburg, 2018) for this role.
In 2023, she performed the role of Turandot at the Deutsche Oper Berlin (production by Lorenzo Fiorini), as well as in theatres in Bonn and Dortmund, and at the José Carreras Festival in Bangkok. She was also nominated for the national opera award “Onegin” (Yekaterinburg, 2018) for this role.
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Tsererina’s imperial bearing and laser-precise high notes created a truly haughty portrayal of the Foreign Princess.
Zoya Tsererina has performed the role of Tosca on the stages of the Bolshoi Theatre of Russia, the Warsaw Grand Theatre, the Azerbaijan State Academic Opera and Ballet Theatre (Baku), and the Primorsky Stage of the Mariinsky Theatre (Vladivostok). In 2022, she appeared at the Bolshoi Theatre as Ortrud in Wagner’s “Lohengrin” (production by François Girard), as well as the Foreign Princess in Dvořák’s “Rusalka” (production by Timofey Kulyabin).
The singer has collaborated with leading contemporary conductors, including Robin Ticciati, Daniele Callegari, Juraj Valčuha, Marco Boemi, Gianluca Andretta, Renatas Svalavatos, Ainārs Rubiķis, Oliver von Dohnányi, Konstantin Chudovsky, Alexey Bogorad, Anton Lubchenko, and Anton Grishanin.
Her repertoire also includes the roles of Santuzza (“Cavalleria rusticana” by P. Mascagni), Lady Macbeth (“Macbeth” by G. Verdi), Odabella (“Attila” by Verdi), Princess Eboli (“Don Carlo”), Joan of Arc and Maria (“Mazeppa” by P. Tchaikovsky), and Kundry (“Parsifal” by R. Wagner).
The singer has collaborated with leading contemporary conductors, including Robin Ticciati, Daniele Callegari, Juraj Valčuha, Marco Boemi, Gianluca Andretta, Renatas Svalavatos, Ainārs Rubiķis, Oliver von Dohnányi, Konstantin Chudovsky, Alexey Bogorad, Anton Lubchenko, and Anton Grishanin.
Her repertoire also includes the roles of Santuzza (“Cavalleria rusticana” by P. Mascagni), Lady Macbeth (“Macbeth” by G. Verdi), Odabella (“Attila” by Verdi), Princess Eboli (“Don Carlo”), Joan of Arc and Maria (“Mazeppa” by P. Tchaikovsky), and Kundry (“Parsifal” by R. Wagner).
