
Larissa Krokhina
soprano
Larissa Krokhina, born in Kurgan in Russia, studied singing at the Music Academy in Moscow from 1994 to 2000. A DAAD scholarship enabled her to continue her studies at the State University of Music and the Institute for Musical Theater in Karlsruhe. From 2001 to 2003 she was a member and scholarship holder of the International Opera Studio at the Badisches Staatstheater Karlsruhe. She also took part in master classes with Mirella Freni, among others. The soprano's first engagements took her to Colmar, Dortmund, Bremen, Hamburg, Karlsruhe, Kassel and Japan. From 2005 to 2008 she was an ensemble member at the Heidelberg Theater and Philharmonic Orchestra. There she celebrated, among others, Donna Elvira in "Don Giovanni", Cio-Cio-San in "Madama Butterfly", Countess in "The Marriage of Figaro", Mimi in "La Bohème", Tatjana in "Eugene Onegin" and Vitellia in " "La clemenza di Tito" successes. She also sang the main roles in the highly acclaimed German premieres of John Adams' "A flowering Tree" and Daniel Catan's "Florencia en el Amazonas".
Larissa Krokhina made guest appearances in Singapore in 2009 under the direction of Kent Nagano, in 2013 as Desdemona in "Otello" at the Oldenburgisches Staatstheater and in 2014 as Margarethe in "Faust" by Gounod at the Berlin State Opera.
The soprano has been a permanent member of the DNT Weimar since the 2008/09 season. Her previous roles here include Mathilde in "William Tell", Liù in "Turandot", Pamina in "The Magic Flute", Donna Anna in "Don Giovanni", Tatjana in "Eugene Onegin", Countess in "The Marriage of Figaro", Hanna Glawari in the "Merry Widow", Margarethe in "Faust" by Gounod, Violetta in "La Traviata", Arabella, Cio-Cio-San in "Madama Butterfly", Field Marshal in "Der Rosenkavalier", Elsa in "Lohengrin", the Singer Anita in "Jonny plays on", Rosalinde in "Die Fledermaus" and Agathe in "Freischütz".
Larissa Krokhina made guest appearances in Singapore in 2009 under the direction of Kent Nagano, in 2013 as Desdemona in "Otello" at the Oldenburgisches Staatstheater and in 2014 as Margarethe in "Faust" by Gounod at the Berlin State Opera.
The soprano has been a permanent member of the DNT Weimar since the 2008/09 season. Her previous roles here include Mathilde in "William Tell", Liù in "Turandot", Pamina in "The Magic Flute", Donna Anna in "Don Giovanni", Tatjana in "Eugene Onegin", Countess in "The Marriage of Figaro", Hanna Glawari in the "Merry Widow", Margarethe in "Faust" by Gounod, Violetta in "La Traviata", Arabella, Cio-Cio-San in "Madama Butterfly", Field Marshal in "Der Rosenkavalier", Elsa in "Lohengrin", the Singer Anita in "Jonny plays on", Rosalinde in "Die Fledermaus" and Agathe in "Freischütz".
Repertoire:
Composer
Adams
Catan
Donizetti
Gounod
Get off
Link
Lortzing
Krenek
Mozart
Puccini
Romberg
Rossini
Rhythm
Strauss
Strauss
Tschaikowsky
Verdi
Wagner
Weill
Weber
Opera
"A flowering tree"
(German premiere)
"Florencia in the Amazon"
(German premiere)
"Viva la mamma"
"Fist"
"Romeo and Juliette"
"The Merry Widow"
"Mrs. Luna"
"The Game Shooter"
"Jonny plays on"
"The Magic Flute"
"Don Giovanni"
"La Clemenza di Tito"
"Le nozze di Figaro"
"Gianni Schicchi"
"La Boheme"
"Madame Butterfly"
"Turandot"
"Student Prince"
"Guillaume Tell"
"L'iganno felice"
"The Conquest of Mexico"
"The bat"
"Arabella"
"The Rosenkavalier"
“Electra”
"Eugene Onegin"
"Falstaff"
"Otello"
"La Traviata"
"Lohengrin"
"Parsifal"
“The Meistersingers
from Nuremberg”
"Mahogany"
"Freischütz"
game
Kumudha
Florence
Great Donna
Marguerite
Stephano
Hanna Glawari
Ms. Luna
baroness
The singer Anita
Pamina
Donna Anna/Donna Elvira
Vitellia
La Contessa
Nella
Mimi
Cio-cio-san
Liu
Kathie
Mathilde
Isabella
Montezuma
Rosalind
Arabella
Marshal
Fifth maid
Tatyana
Alice Ford
Desdemona
Violetta
Elsa
Flower girl
Eve
Jenny
Agatha
Concerts:
Bach
Brahms
Chausson
Faure
Haydn
Mozart
Shostakovich
Ostrich
Vivaldi
Brahms
Chausson
Faure
Haydn
Mozart
Shostakovich
Ostrich
Vivaldi
Cantata No.: “Swings up joyfully” BWV 36
Cantata No.: 110 “Let our mouths be full of laughter” BWV 110
Cantata No.: 119 "Prices Jerusalem prices" BWV 119
requiem
Poems of L'amour et de la mer
requiem
Creation
Missa No. 14 C major KV 317 “Coronation Mass”
requiem
Vespere solennes de Confessore“KV 339
Symphony No. 14” Op. 135
Four last Songs
Gloria
Cantata No.: 110 “Let our mouths be full of laughter” BWV 110
Cantata No.: 119 "Prices Jerusalem prices" BWV 119
requiem
Poems of L'amour et de la mer
requiem
Creation
Missa No. 14 C major KV 317 “Coronation Mass”
requiem
Vespere solennes de Confessore“KV 339
Symphony No. 14” Op. 135
Four last Songs
Gloria
Reviews:
Mimì (La Bohème)
“The young ensemble undoubtedly approached it with great commitment, both vocally and scenically (...) Larissa Krokhina has been an audience favorite in Heidelberg at least since her Cio-cio-san last year. She sang Mimì with the necessary lyrical flourishes, a voice that rested firmly on the breath and the required vocal naturalness” (Opernglass); “Larissa Krokhina was outstanding as Mimi, who doesn't indulge in romantic, quiet enthusiasm, but rather confidently demands love. “She formed beautifully bright, colorfully glowing cantilenas and intensely radiant passions as if from a single mold” (Echo Online); “(...) young and highly ambitious singing ensemble, at the lonesome head was Larissa Krokhina with her sensual, lush and highly concentrated soprano and could be seen as the extremely expressive Mimi” (Mannheimer Morgen);
La Contessa (Le nozze di Figaro)
“Larissa Krokhina sings with a noble voice in her quiet realm of pumps and high heels” (Rhein_Neckar Zeitung); “The “Figaro” was a brilliant evening by the Heidelberg ensemble, which put many a more important house to shame in the equivalence of the five lead singers (...) Larissa Krokhina as the pure-hearted countess” Stuttgarter Zeitung);
Mimì (La Bohème)
“The young ensemble undoubtedly approached it with great commitment, both vocally and scenically (...) Larissa Krokhina has been an audience favorite in Heidelberg at least since her Cio-cio-san last year. She sang Mimì with the necessary lyrical flourishes, a voice that rested firmly on the breath and the required vocal naturalness” (Opernglass); “Larissa Krokhina was outstanding as Mimi, who doesn't indulge in romantic, quiet enthusiasm, but rather confidently demands love. “She formed beautifully bright, colorfully glowing cantilenas and intensely radiant passions as if from a single mold” (Echo Online); “(...) young and highly ambitious singing ensemble, at the lonesome head was Larissa Krokhina with her sensual, lush and highly concentrated soprano and could be seen as the extremely expressive Mimi” (Mannheimer Morgen);
La Contessa (Le nozze di Figaro)
“Larissa Krokhina sings with a noble voice in her quiet realm of pumps and high heels” (Rhein_Neckar Zeitung); “The “Figaro” was a brilliant evening by the Heidelberg ensemble, which put many a more important house to shame in the equivalence of the five lead singers (...) Larissa Krokhina as the pure-hearted countess” Stuttgarter Zeitung);