The young soprano Veronika Dzhioeva is in great demand worldwide. Opera lovers flock to her performances in Great Britain, Germany, Switzerland, Austria, Italy, Spain, the Czech Republic, Estonia, Lithuania, the USA, China, South Korea and Japan. She graduated from the St Petersburg State Rimsky-Korsakov Conservatoire (class of Professor Tamara Novichenko, who also taught Anna Netrebko). Veronika Dzhioeva’s career began with her winning 3rd prize at the Maria Callas International Competition (Athens, 2005). She made her operatic debut in 2004 as Mimì in Puccini’s La Bohème under the baton of Alim Shakh. Russian music critics began to take note of her following her Grand Prix victory at the VII International Vocal Competition (Kaliningrad, 2006). Russia’s Culture magazine awarded her the title of “Debut of the Year” for the role of Fiordiligi in Così fan tutte (2006, conducted by Teodor Currentzis). Rodion Shchedrin’s choral opera Boyarina Morozova, in which Dzhioeva sang as Princess Urusova, proved a highlight in the Moscow theatre world. Veronika Dzhioeva is currently a leading soloist in the so-called “Golden Triangle” of Russian opera houses (the Mariinsky, the Bolshoi and the Novosibirsk State Opera), and all of her premieres receive nationwide coverage. Dzhioeva has performed such diverse roles as the Countess (Mozart’s Le nozze di Figaro), Donna Elvira (Mozart’s Don Giovanni), Thaïs (Massenet’s Thaïs), Tatiana (Tchaikovsky’s Eugene Onegin), Micaëla (Bizet’s Carmen), Violetta (Verdi’s La traviata), Fiordiligi (Mozart’s Così fan tutte), Elisabetta (Verdi’s Don Carlo) and Mimì and Musetta (Puccini’s La Bohème). Her repertoire also includes the roles of Zemfira (Rachmaninoff’s Aleko), Marfa (Rimsky-Korsakov’s The Tsar’s Bride), Lady Macbeth (Verdi’s Macbeth), Maria Stuarda (Donizetti’s Maria Stuarda), Madama Butterfly (Puccini’s Madama Butterfly) and Marta (Weinberg’s The Passenger).
Premieres at the Mariinsky Theatre never fail to arouse great interest among St Petersburg’s opera-going public. The recent premiere of Rachmaninoff’s Aleko (staged by Mariusz Treliński) in St Petersburg and in Baden-Baden under the baton of maestro Valery Gergiev brought the singer great acclaim. In October 2010 Veronika Dzhioeva appeared as Donna Elvira (Mozart’s Don Giovanni, Bolshoi Theatre premiere, production by Dmitry Chernyakov). In April 2011 Veronika received standing ovations in Munich and Luzern for her performances as Tatiana (Eugene Onegin with the Bayerisches Rundfunk Sinfonieorchester under the baton of maestro Mariss Jansons). She received a repeat invitation from Jansons in October-November 2013, this time for Mahler’s Second Symphony with the Royal Concertgebouw Orchestra in Amsterdam, St Petersburg and Moscow. Her most recent premiere at the Hamburgische Staatsoper (as Yaroslavna in Borodin’s Prince Igor, September 2012) met with an enthusiastic response from the audience and received lavish praise from German critics. Next followed two premieres as Suor Angelica (Puccini’s Suor Angelica, Teatro Real, Madrid, 2012) and Donna Elvira (Mozart’s Don Giovanni, Houston Grand Opera, 2013). Dzhioeva collaborates with many world-renowned figures in the music world including Valery Gergiev, Mariss Jansons, Yuri Bashmet, Mikhail Pletnev, Sergei Leiferkus and Anna Netrebko among others.
The singer enjoys fruitful partnerships with Italian theatres including the Teatro Petruzzelli (Bari) and the Teatro Comunale (Bologna). She has also performed the title role in a production of Donizetti’s opera Maria Stuarda to great acclaim in Palermo (Teatro Massimo). Dzhioeva frequently appears in concert performances. In past seasons she has sung the soprano parts in Verdi and Mozart’s Requiems, Mahler’s Second Symphony, Beethoven’s Ninth Symphony, Mozart’s Große Messe (under Yuri Bashmet) and Rachmaninoff’s poem The Bells. The singer’s performance of Richard Strauss’ Vier Letzte Lieder (under Alim Shakh) marked an important turning point in her career. Dzhioeva’s recital repertoire includes a considerable number of works by contemporary composers. Russian audiences have been particularly enchanted with the vocal cycles The Run of Time by Tishchenko and The Guitar’s Lament by Minkov. The fantasia Severing Winter by the young St Petersburg composer Anton Tanonov, performed in Bologna under Brazilian maestro Osman Gioia, was a particular success. Veronika Dzhioeva has been a prize-winner at numerous competitions, among them the Maria Callas Grand Prix (Athens, 2005), the Amber Nightingale international competition (Kaliningrad, 2006, 1st prize), the Klaudia Taev International Competition (Pärnu, 2007, 2nd prize), the All-Russian Competition of Opera Singers (St Petersburg, 2005), the International Glinka Competition (Astrakhan, 2003), the World Vision international competition and the Tchaikovsky All-Russian Competition. The singer has been presented with a great number of theatre awards including the Golden Mask and the Golden Sofit. Veronika was honoured with the Paradise prize for her performance as Lady Macbeth in a joint Russian-French staging of Verdi’s opera Macbeth. The singer was awarded the Czech Republic’s EURO Pragensis Ars prize in 2010. In November 2011 Veronika took the Grand Prix at Russia’s Channel 1 TV competition Grand Opera. Of particular note among her recordings is the album Opera Arias. Dzhioeva’s voice is frequently used in TV films (including Monte-Cristo and Vasilievsky Island). The director Pavel Golovkin’s TV film The Winter Solo of the Wave, dedicated entirely to the work of Veronika Dzhioeva, was released recently.
“Veronika Dzhioeva is one of the most remarkable singers of the modern music age. She has a soprano of the most beautiful timbre and a broad range combined with phenomenal artistic abilities. All that Veronika has performed and embodied on the stage over the past years deserves great attention. Having made her debut as Mimì in Puccini’s La Bohème, Veronika immediately attracted attention because we had not heard such artistic singers filled with deep emotion for a long time. Veronika is especially wonderful in Italian opera – not only because of her voice and subtle feeling of the style but also because of her almost faultless Italian pronunciation. Her image doesn’t hold any drawbacks – and whatever there might be are negligible. Veronika also appears majestic in the recital repertoire in which she can perform songs of different styles one after the other. And no-one can have any doubts that chamber vocal music is where she truly shines. When Veronika performed my vocal cycle The Run of Time (to verse by Anna Akhmatova), I was astonished by the ‘temperature’ of her soul’s penetration into the heart of the music and her level of precision in terms of inflection with such a complex musical text. Veronika arouses in me a wish to work with her more and more. Today there can be no doubt that Veronika Dzhioeva as a singer belongs to the entire world.”
Boris Tishchenko, composer, People’s Artist of Russia
“Veronika Dzhioeva was excellent as Tatiana, both in her early naivety and in her later worldly-wise standoffishness.”
The New York Times, April 20, 2011