Biography
" Lena would have fascinated Rossini! Lena Belkina, mezzo-soprano: one of those beautiful dark feminine voices, mysterious and sensual, Rossini – luckily for us – was enchanted by ... "
Sandro Cappelletto, La Stampa
Ukrainian mezzo-soprano Lena Belkina studied at the R. Glier Kyiv Institute of Music and the National Music Academy of Ukraine with Prof. Yevheniya Miroshnychenko, before completing her vocal studies with distinction at the "Felix Mendelssohn Bartholdy" Hochschule für Musik und Theater Leipzig under the guidance of Prof. Roland Schubert. After winning first prize at the international Boris Hmyria International Singers’ Competition, she started her career as an ensemble member of the Leipzig Opera and the Vienna State Opera.
Her international breakthrough came as Angelina in a production of Rossini's La Cenerentola directed by Carlo Verdone and under the baton of Gianluigi Gelmetti, broadcast live by Radiotelevisione Italiana and streamed worldwide on numerous TV channels, before being awarded Italy's leading television prize, the Prix Italia. In addition, Lena made her debut at the prestigious Rossini Opera Festival in Pesaro as Arsace in a production of Aureliano in Palmiradirected by Mario Martone, later released on DVD by Arthaus.
Since then, Lena Belkina has been a regular guest on international stages, appearing among others, as Cherubino in Mozart's Le nozze di Figaro at the Vienna State Opera and the Teatro Real in Madrid, as Rosina in Il Barbiere di Siviglia at the Deutsche Oper am Rhein in Dusseldorf, the New National Theatre in Tokyo and the Grand Théâtre de Genève, as Angelina in La Cenerentola at the Leipzig Opera and the National Theatre in Prague, as Olga in Tchaikovsky's Eugene Onegin at the Palau de les Arts in Valencia, the Teatro Comunale in Bologna, the Malmö Opera and the Opéra de Limoges, and as Varvara in Janáček's Káťa Kabanová at the Teatro Regio in Turin and the Teatro San Carlo in Naples.
After her debut at the Kyiv National Opera in 2016 as Angelina, Lena further appeared as Adalgisa in Bellini's Norma and in the title role of Bizet's Carmen, a role she first sang at the Bregenz Festival.
Further engagements include Sonia in Prokofiev's War and Peace and Smeton in a new production of Donizetti's Anna Bolena at the Grand Théâtre de Genève, Angelina in La Cenerentola at the Leipzig Opera and as Polina in Tchaikovsky's Pique Dame at the Gran Teatre del Liceu in Barcelona. At the Theater an der Wien, Lena starred in the title role of Handel's Teseo and as Joan of Arc in a new production of Tchaikovsky's The Maid of Orleans, under the musical direction of Oksana Lyniv and directed by Lotte de Beer. At the Hessisches Staatstheater Wiesbaden she took on both the title role of Carmen and Ruggiero in Handel's Alcina, and subsequently appeared as Isaura in Rossini's Tancredi at the Théâtre de la Monnaie, as Nicklausse in Offenbach's Les Contes d'Hoffmann at the New National Theatre in Tokyo, and as Elena in Rossini's La donna del lago at the Opéra de Lausanne. As part of the Handel Festival Karlsruhe, Lena Belkina made her role debut as Gismonda in Handel's Ottone conducted by Carlo Ipata.
Lena Belkina is an equally sought-after soloist on the concert stage, having appeared previously as a soloist at the Gewandhaus in Leipzig, the Beethovenhalle in Bonn and the Herkulessaal in Munich, among others. As part of José Carreras' farewell tour, she appeared as a soloist at the Vienna Konzerthaus and performed the alto part in Mahler's Das Lied von der Erde with the Jerusalem Symphony Orchestra under Fréderic Chaslin. At the Charity Concert in support of Ukraine promoted by the Vienna Musikverein in March 2022, she touched the audience with songs by the Ukrainian composer Valentin Silvestrov. Most recently the mezzo-soprano has performed in Beethoven’s Ninth Symphony with the SWR Symphony Orchestra in Stuttgart, Vienna and Freiburg, conducted by Jean-Christophe Spinosi, while at the Auditorio Nacional de Música in Madrid, she could be heard in Bach's St. Matthew Passion. On the recital stage, she has performed at the Schubertiade Wieden, the Festival dos Capuchos in Almada, Portugal, and in Sion, Switzerland. In addition, she performed together with the ORF Radio Symphony Orchestra Vienna under Karina Canellakis in Janáček's Glagolitic Mass at the Vienna Musikverein.
Lena Belkina’s devotion to the bel canto repertoire is clear from her solo album "Dolci Momenti", with arias by Rossini, Bellini and Donizetti (Münchner Rundfunkorchester/ Alessandro De Marchi) released by Sony Classical. On the same label she released "Classic Vienna", an album featuring arias by Mozart, Gluck and Haydn (ORF Radio-Symphonieorchester Wien/Andrea Sanguineti). In 2021, the label Solo Musica released her first lied album "Spring Night" dedicated to works by Tchaikovsky and Rachmaninov, which received Opus Klassik nomination under the category "Solo Vocal Recording". Her most recent award-winning solo album entitled "Passion for Ukraine" was released with Solo Musica and is dedicated to Ukrainian art and folk songs.
Repertoire
Opera/Operetta
Composer, Work
Composer
Opera/Operetta
Part
H.Purcell, Dido and Aeneas
H.Purcell
Dido and Aeneas
Dido
G.F.Händel, Alcina
G.F.Händel
Alcina
Ruggiero
G.F.Händel, Teseo
G.F.Händel
Teseo
Teseo
G.F.Händel, Floridante
G.F.Händel
Floridante
Elmira
G.F.Händel, Ottone
G.F.Händel
Ottone
Gismonda
C.W.Gluck, Orfeo ed Euridice
C.W.Gluck
Orfeo ed Euridice
Orfeo
W.A.Mozart, Die Zauberflöte
W.A.Mozart
Die Zauberflöte
2.Dame
W.A.Mozart, Le Nozze di Figaro
W.A.Mozart
Le Nozze di Figaro
Cherubino
W.A.Mozart, Cosi fan tutte
W.A.Mozart
Cosi fan tutte
Dorabella
W.A.Mozart, Don Giovanni
W.A.Mozart
Don Giovanni
Donna Elvira*
W.A.Mozart, La Clemenza di Tito
W.A.Mozart
La Clemenza di Tito
Sesto*
G.Rossini, Il barbiere di Siviglia
G.Rossini
Il barbiere di Siviglia
Rosina
G.Rossini, La Cenerentola
G.Rossini
La Cenerentola
Angelina
G.Rossini, Italiana in Algeri
G.Rossini
Italiana in Algeri
Isabella*
G.Rossini, Il turco in Italia
G.Rossini
Il turco in Italia
Zaida
G.Rossini, La donna del lago
G.Rossini
La donna del lago
Elena
G.Rossini, Aureliano in Palmira
G.Rossini
Aureliano in Palmira
Arsace
G.Rossini, La gazza ladra
G.Rossini
La gazza ladra
Pippo
V. Bellini, Norma
V. Bellini
Norma
Adalgisa
G.Donizetti, Anna Bolena
G.Donizetti
Anna Bolena
Smeton
G.Donizetti, La Favorita
G.Donizetti
La Favorita
Leonora*
G.Bizet, Carmen
G.Bizet
Carmen
Carmen
J.Massenet, Werther
J.Massenet
Werther
Charlotte*
J.Offenbach, Les Contes d'Hoffmann
J.Offenbach
Les Contes d'Hoffmann
Muse/Nicklausse
C.Saint-Saens, Samson et Dalila
C.Saint-Saens
Samson et Dalila
Dalila*
L. Janacek, Katja Kabanova
L. Janacek
Katja Kabanova
Varvara
A.Dvorak, Rusalka
A.Dvorak
Rusalka
2.Elfe, Fremde Fürstin*
G.Verdi, La Traviata
G.Verdi
La Traviata
Flora
G.Verdi, Nabucco
G.Verdi
Nabucco
Fenena*
G.Verdi, Don Carlo
G.Verdi
Don Carlo
Eboli*
P.I.Tchaikovsky, Eugene Onegin
P.I.Tchaikovsky
Eugene Onegin
Olga, Larina
P.I.Tchaikovsky, Pique Dame
P.I.Tchaikovsky
Pique Dame
Poline/Milovzor
P.I.Tchaikovsky, Jungfrau von Orleans
P.I.Tchaikovsky
Jungfrau von Orleans
Johanna
R.Strauss, Ariadne auf Naxos
R.Strauss
Ariadne auf Naxos
Dryade
R.Strauss, Ariadne auf Naxos
R.Strauss
Ariadne auf Naxos
Komponist*
R.Strauss, Ariadne auf Naxos
R.Strauss
Ariadne auf Naxos
Octavian*
R.Strauss, Elektra
R.Strauss
Elektra
2.Magd
R.Wagner, Tannhäuser
R.Wagner
Tannhäuser
Venus*
G.Verdi, Requiem
G.Verdi
Requiem
*not yet performed on stage
Oratorio
Composer, Work
Composer
Work
Part
J.S.Bach, Matthäus Passion
J.S.Bach
Matthäus Passion
J.S.Bach, Johannes Passion
J.S.Bach
Johannes Passion
L.v.Beethoven, Symphony No.9
L.v.Beethoven
Symphony No.9
A.Dvorak, Stabat Mater
A.Dvorak
Stabat Mater
G.Rossini, Stabat Mater
G.Rossini
Stabat Mater
L. Janacek, Glagolitische Messe
L. Janacek
Glagolitische Messe
*not yet performed on stage
Concert and Lied
Composer, Work
Composer
Work
G.Mahler, Das Lied von der Erde
G.Mahler
Das Lied von der Erde
Reviews
Als Titelheldin überzeugte Lena Belkina mit einem dunkel gefärbten Mezzo
Als Titelheldin überzeugte Lena Belkina mit einem dunkel gefärbten Mezzo in dieser Zweitfassung der Tschaikowski Oper... Und so emanzipiert sich die jugendliche Johanna mit langen schwarzen Haaren während der Oper aus der väterlichen Munt und tritt dem König, dessen Geliebter und dem Erzbischof von Reims resolut entgegen. Am Ende schneidet sie in Erwartung ihres bevorstehenden Todes schon einmal vorsorglich ihr Haar ab, was bei zum Tode verurteilten Rechtsbrechern in jenen Zeiten allgemeiner Usus war. Stimmlich überzeugte sie durch ihren abgedunkelten Mezzo und erhielt am Ende der Vorstellung auch vom Publikum den meisten Applaus
Lena Belkina äußerst beeindruckend
In der Titelpartie zeigt die Mezzosopranistin Lena Belkina, dass ihr die Darstellung freiheitsliebender Frauen, die musikalisch herausfordernd und ständig auf der Bühne sind, wie auf den Leib geschneidert ist...
Eine kräfteraubende Wandlung, die Lena Belkina äußerst beeindruckend umzusetzen vermag. Von unschuldig lyrisch zu Beginn bis hin zu verzweifelt dramatisch am Ende gestaltet sie eine packende Irrfahrt eines aufmüpfigen Teenagers, der letztendlich am Scheiterhaufen landet. Verraten vom Vater, Spielball der Kirche und im Stich gelassen vom König.
One of the vocal wonders of Ukraine
The mezzo-soprano Lena Belkina, one of the vocal wonders of Ukraine, dazzled in the title role of Orfeo, gripping in her tortured emotions
Undoubtedly the star of the evening, though, was Belkina.
Riveting intensity from two young star singers, Ukrainian mezzo Lena Belkina and Australian soprano Kiandra Howarth drove home what a masterpiece the work we know as Orfeo ed Euridice truly is, even in the trimmed and higher-pitched version for the ducal nuptials.
Undoubtedly the star of the evening, though, was Belkina. Discreet as Filemone, she held the stage throughout as Orfeo, lacerating grief and boundless love personified. Without dance distraction - the three movement folk played a minimal role - you realise that Gluck's finely honed retelling of opera's favourite mythical subject is more monodrama than anything else, at least until the crucial journey from the underworld with Orfeo forbidden to look back at his resurrected wife. Belkina has a seamless, rich vocal range and it probably helped her youthful mezzo that Gluck modified or transposed upwards the leading role when it passed from castrato Gaetano Guadagni, creator of Orfeo in 1762, to his soprano-castrato counterpart in Parma seven years later; no digging here for exaggerated chest-voice effects.
The players relished the pastoral effects of the miniature tone-poem-with-voice "Che puro ciel" as well as the knife-thrusts of the Furies; the small chorus projected to perfection throughout. But it was Belkina's night. Unless she chooses the wrong repertoire, she should do very well indeed in the BBC Cardiff Singer of the World Competition next month
Contact
Sylvia Saavedra-Edelmann
Artist Manager