Alisa Kolosova
Mezzo-soprano
Reviews
Dalila Samson et Dalila / Theater Basel, cond. Erik Nielsen
“The mezzo-soprano Alisa Kolosova is a discovery for Basel, as she gives Dalila
sensual colours. The lovers defeat with beauty of sound, which is poured over with
malice in magnificent vocal art.”
Berliner Zeitung, November 2015
“The mezzo-soprano Alisa Kolosova filled the role of seductive and radiantly beautiful
Delila, and performed it with every fibre of her great voice; the fact that she sang
largely by heart, continued to contribute to the credibility of their representation.”
Basler Zeitung, November 2015
“Alisa Kolosova is a wonderful Dalila with musical and erotic seduction in her
performance... The young mezzo-soprano continues to differentiate her youthful voice
and can thereby generate a fascinating, passionate and musical-erotic mood.”
Online Merker, December 2015
Olga Eugene Onegin / Nationaltheater, Munich, cond. Leo Hussain,
dir. Krzysztof Warlikowski
"[Alisa Kolosova was] a robust and unwavering Olga”
Süddeutsche Zeitung, July 2015
“Tatiana's sister Olga was brilliantly performed by Alisa Kolosova, with a rich contralto
voice.”
Augsburger Allgemeine, July 2015
“Alisa Kolosova was fine in the part of Olga”
Seen and Heard International, July 2015
Olga Eugene Onegin / Bavarian State Opera
Alisa Kolosova (Olga) impressed me early on with the size and resonance of her
voice, as well as her spot-on cutesy and carefree persona. She contrasted wonderfully
with Kristine Opolais’ moody and introspective Tatyana.
Bachtrack, May 2015
Foreign Princess Rusalka / Opera National de Paris, cond. Jakub Hrůša
"Molto efficace Alisa Kolosova nel breve ma affascinante ruolo della principessa
straniera, caratterizzata da una femminilità ferina e sensuale, perfetto contraltare di
una Rusalka ancora inesperta e indecisa."
"Alisa Kolosova, very effective in the short but fascinating role of the foreign princess,
a feral and sensual feminine character, perfect counterpart to the inexperienced and
indecisive Rusalka."
Operaclick.com / April 2015
Scriabin Symphony No. 1 /Chicago Symphony Orchestra, cond.
Riccardo Muti / Carnegie Hall
"Kolosova, with her forthright, pleasantly rounded tone, and Skorokhodov, with his
ruddy-colored tenor and upper-register ease, both provided unmistakably idiomatic
delivery and convincingly wonderstruck bearing. Kolosova, who returned as a soloist
for 'The Field of the Dead,' was dignified yet vulnerable, and suitably mournful in her
beautifully controlled long phrases"
Operanews, April 2015
Calbo Maometto Secondo / Teatro del l'Opera, Rome, cond. Roberto
Abbado, dir. Pier Luigi Pizzi
"Alisa Kolosova makes the part of Calbo, with dignity befitting her character, an
authentic accent and noble gestures. Faced with this role, which is one of the most
breathtaking ever written by Rossini, the Russian mezzo triumphs, singing in a way
that requires her to push the voice to the extreme limits"
Opera-Online, April 2014
“Alisa Kolosova…shows considerable technical mastery in the role of Calbo, which
requires substantial jumps as well as long passages in the low register.”
Teatro.it, April 2014
“Il Calbo di Alisa Kolosova… la vocalità ricorda per certi aspetti quella della ValentiniTerrani. La voce si libra voluminosa e ricca di armonici, i terribili salti di registro sono
risolti bene, senza il sentore di difficoltà, e gli acuti sfavillano con sicurezza. La tenuta
del palcoscenico… non risulta difficoltosa e contribuisce al successo personale
dell'interprete.”
“Alisa Kolosova’s Calbo… her vocalism is reminiscent in some respects of ValentiniTerrani. Her voice is voluminous and rich in harmonics, the terrible jumps are resolved
well, without a hint of trouble, and the treble sparkles with confidence. The stage… is
not difficult and contributes to the success of the interpreter.”
Opera-click.com, April 2014
“Alisa Kolosova ... proves to possess a voice soft and smooth, homogeneous in the
transitions between the extremities of the vocal register. With solid technique, her
natural musicality enhances further her other strengths.”
Opera Libera, April 2014
“Lots of coloratura here too and with all the i’s dotted and the t’s crossed. Her voice is
fuller and richer than Rebeka’s, making the appropriate contrast. And it also makes
the delivery of the coloratura all the more impressive”
Seen and Heard International, April 2014
Fenena Nabucco / Vienna State Opera
“il mezzosoprano Alisa Kolosova, intonando la romanza di Fenena, dischiude davvero
il firmamento con una pasta vocale che è insieme sontuosa, affettuosa e solenne; i
direttori artistici italiani, se ve ne sono di avveduti, prendano subito nota.”
“When mezzo soprano Alisa Kolosova , sings the aria of Fenena , she really fills the
sky with a voice that is both affectionate and lavish as well as solemn ; Italian artistic
directors should, if any are wise, take note immediately.”
il Corriere Musicale, October 2013
Foundation Ravenna Festival, cond. Riccardo Muti
“Alisa Kolosova è una Giuditta giovane e di grande fascino, dalla significativa
presenza scenica che sfrutta per un ruolo reso più nelle sfumature sedicenti che
drammatiche; la voce è bella, morbida nelle agilità affrontate in modo rotondo, senza
asprezze“
“Alisa Kolosova is a young and charming Judith. She makes the role subtle and
dramatic with her significant stage presence and beautiful voice; soft but agile and
without bitterness”
Teatro, July 2013
Vivaldi’s Magnificat / Chicago Symphony Orchestra, cond. Riccardo
Muti
“In her five arias, interwoven with choral episodes, the mezzo displayed a big, agile
sound with a gorgeous lower register – notably in her fourth solo, “Esurientes implevit
bonis”.
Chicago on the Aisle, June 2013
“Russian mezzo-soprano Alisa Kolosova, brought admirable agility to the coloratura
passages, along with line, focus and devout feeling to everything else.”
Chicago Tribune, June 2013
“Russian mezzo-soprano Alisa Kolosova made an impressive debut as soloist in the
Vivaldi. A mentoree of Maestro Muti’s since she burst onto the European scene when
she was barely 20... She has a coloratura reminiscent of Teresa Berganza, and her
low register is like creamy, rich melted chocolate.”
Chicago Loon, June 2013
Montpellier Festival / Philharmonique de Radio France, cond. Alexander
Vedernikov, Le Corum Opera House
“Alisa Kolosova’s performance culminated in her great scene in two parts of the
beginning of Act Four: her voice, tinged with melancholy, boasts a finely nuanced
vocal line, and the cabaletta with the choir demonstrates her flawless technique. This
is why the beautiful Russian mezzo received a well-deserved ovation”
Christian Peter, Forum Opera, July 2012
Orpheus Orpheus and Eurydice / Opéra Bastille, cond. Geoffroy
Jourdain
“Alisa Kolosova’s Orpheus... was highly convincing not only because of the youthful
passion transmitted, but also the well projected voice which was both seductive and
even distressing with the death of the heroine.”
Michel Le Naour, Concert Classic.com, May 2011
Mahler Le Chant de la Terre / Orchestre Philharmonique de Radio
France, cond. Mikko Franck
“Tenor Christian Elsner shows a beautiful, rock solid voice, but the prize goes to the
young mezzo-soprano Alisa Kolosova, with a pure timbre, her voice is elegiac and
moving in the Farewell recitations."
Concert Classic, October 2015
Intermusica represents Alisa Kolosova worldwide except for Spain and Italy
Julia Maynard, Director / Head of Vocal & Opera
+44 20 7608 9902, [email protected]
Steven Gietzen, Assistant Artist Manager
+44 20 7608 9937, [email protected]
http://intermusica.co.uk/artist/Alisa-Kolosova
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