Und Marina Prudenskaya gestaltete die Waltraute so faszinierend, wie wohl seit Jahrzehnten nicht mehr zu erleben, stimmschön, makellos textverständlich und intensiv
- Online Merker (Götterdämmerung, Bayreuther Festspiele, August 2016) -
Russian mezzo-soprano Marina Prudenskaya made two important house debuts in 2016: at Royal Opera House, Covent Garden as Azucena in Il trovatore and later the same year at Opernhaus Zürich as Eboli in Don Carlo. In the 2017-18 season she made her much anticipated US debut as Amneris in Aida with Washington National Opera, a role she repeated later in the season in Santiago de Chile and at Teatro Real in Madrid. Further highlights included returning to the Staatsoper Berlin as Komponist in Ariadne auf Naxos and her role debut as Herodias in a new production of Salome directed by Hans Neuenfels, and to the Bayreuth Festival as Fricka in Wagner’s Die Walküre. She begins the 2018-19 season at the Staatsoper Unter den Linden as Neris in a new production of Cherubini’s Médée conducted by Daniel Barenboim, where she also sings Gertrud in Humperdink’s Hänsel und Gretel and appears in Widmann’s Babylon. Furthermore, she returns to Opernhaus Zürich as Gertrud and Knusperhexe in a new production of Hänsel und Gretel by Robert Carsen and sings Verdi’s Lady Macbeth with Opera Vlaanderen in Antwerp.
Ms. Prudenskaya studied psychology at St. Petersburg State University and singing at the St. Petersburg Conservatory. She began her career at the Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre and went on to become a member of the ensembles of Staatstheater Nürnberg and Deutsche Oper Berlin. Subsequently she joined the ensemble at Oper Stuttgart from 2007 to 2013, singing roles including Bradamante in Alcina, Clitemnestre in Iphigénie en Aulide, Adalgisa in Norma, Fenena in Nabucco, Federica in Luisa Miller, Amneris in Aida, the title role in Carmen, Waltraute in Götterdämmerung and Octavian in Der Rosenkavalier.
In the 2013-14 season she joined the ensemble at the Staatsoper Berlin, where her roles have included Azucena and Eboli, Ulrica in Un ballo in maschera, Venus in Tannhäuser, Brangäne in Tristan und Isolde, Lyubasha in The Tsar’s Bride, Marie in Wozzeck, Composer in Ariadne auf Naxos, and Mother Goose in The Rake’s Progress.
Notable engagements elsewhere include Erda in Der Ring des Nibelungen for Dutch National Opera, Ulrica for the Mariinsky Theatre, and Waltraute and Second Norn in Götterdämmerung for Deutsche Oper Berlin. Further highlights include Lyubasha at La Scala in Milan, Azucena at the Wiener Festwochen, Waltraute in Götterdämmerung at the Bayreuth Festival, Amneris in Beijing and Valencia, and Azucena with Opéra de Monte-Carlo.
She appears throughout Europe in concert, in repertoire ranging from Vivaldi’s Gloria to Shostakovich’s From Jewish Folk Poetry. She has recorded Verdi’s Requiem with the Berlin Philharmonic under Mariss Jansons and also performed the piece with the Rundfunk-Sinfonieorchester Berlin under Marek Janowski, as well as Beethoven’s Missa Solemnis with Sebastian Weigle and Beethoven’s Symphony No. 9 in Montpellier.
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… Marina Prudenskaya lockt als Venus mit Wärme, mit Wohlklang, sogar mit Güte, ohne hektisch flackernde Sinnlichkeit. Ihre Sanftheit macht sie anziehend, im Balsamischen liegt das Geheimnis ihrer Unwiderstehlichkeit, ohne hektisch flackernde Sinnlichkeit.
– FAZ (Tannhäuser, Staatsoper Berlin, 2015) –
Photo Credit: Martin Sigmund