Biography
Mezzo-soprano Irina Ignata* captivates on stage with the radiant, dark timbre of her voice and her intense stage presence.
Irina sings all over Europe and recently performed roles such as Polina (The Queen of Spades) at the Latvian National Opera in Riga, Olga (Eugene Onegin) at the Opéra de Lausanne and Suzuki (Madama Butterfly) at the Immling Festival.
*previously worked under the last name Maltseva
*previously worked under the last name Maltseva
Media
Repertoire
BERLIOZ
Anna | Les Troyens
BIZET
Mercédès | Carmen
Carmen** |Carmen
BRITTEN
Lucretia | The Rape of Lucretia
CAVALLI
Satirino | La Calisto
DELIBES
Mallika | Lakmé
CILÈA
Principessa de Bouillon** | Adriana Lecouvreur
HUMPERDINCK
Hänsel | Hänsel und Gretel
MONTEVERDI
Melanto | Il Ritorno d'Ulisse
Satirino | La Calisto
MOZART
Dorabella | Così fan tutte
Cherubino | Le nozze di Figaro
Ramiro | La finta giardiniera
Zweite Dame | Die Zauberflöte
MUSSORGSKY
Feodor | Boris Godunov
Marfa** | Khovantschina
PROKOFIEV
Hélène Bezukhova | War and Peace
PUCCINI
Suzuki | Madama Butterfly
RIHM
1 Alto | Jakob Lenz
Anna | Les Troyens
BIZET
Mercédès | Carmen
Carmen** |Carmen
BRITTEN
Lucretia | The Rape of Lucretia
CAVALLI
Satirino | La Calisto
DELIBES
Mallika | Lakmé
CILÈA
Principessa de Bouillon** | Adriana Lecouvreur
HUMPERDINCK
Hänsel | Hänsel und Gretel
MONTEVERDI
Melanto | Il Ritorno d'Ulisse
Satirino | La Calisto
MOZART
Dorabella | Così fan tutte
Cherubino | Le nozze di Figaro
Ramiro | La finta giardiniera
Zweite Dame | Die Zauberflöte
MUSSORGSKY
Feodor | Boris Godunov
Marfa** | Khovantschina
PROKOFIEV
Hélène Bezukhova | War and Peace
PUCCINI
Suzuki | Madama Butterfly
RIHM
1 Alto | Jakob Lenz
ROSSINI
Zulma | Italiana in Algeri
SAINT-SAËNS
Dalila** | Samson e Dalila
SCHUMANN
Margaretha | Genoveva
R.STRAUSS
Page | Salome
TCHAIKOVSKY
Olga | Eugene Onegin
Polina | The Queen of Spades
VERDI
Amneris**| Aida
Azucena** | Il trovatore
Eboli** | Don Carlo
Emilia | Otello
Flora | La Traviata
Fenena** | Nabucco
Ulrica** | Un ballo in maschera
WAGNER
Brangäne** | Tristan und Isolde
Erda* | Das Rheingold
Fricka** | Die Walküre
Rossweisse | Die Walküre
Waltraute** | Die Götterdämmerung
WEINBERG
Kristyna | The passenger
Concert Repertoire:
BACH | Matthäus-Passion
DURUFLÉ | Requiem
MAHLER | Symphonie N.2
LANGLAIS | Missa in Simplicitate
ROSSINI | Stabat Mater
VERDI | Requiem**
WAGNER | Wesendonck Lieder
*learned
**in preparation
Zulma | Italiana in Algeri
SAINT-SAËNS
Dalila** | Samson e Dalila
SCHUMANN
Margaretha | Genoveva
R.STRAUSS
Page | Salome
TCHAIKOVSKY
Olga | Eugene Onegin
Polina | The Queen of Spades
VERDI
Amneris**| Aida
Azucena** | Il trovatore
Eboli** | Don Carlo
Emilia | Otello
Flora | La Traviata
Fenena** | Nabucco
Ulrica** | Un ballo in maschera
WAGNER
Brangäne** | Tristan und Isolde
Erda* | Das Rheingold
Fricka** | Die Walküre
Rossweisse | Die Walküre
Waltraute** | Die Götterdämmerung
WEINBERG
Kristyna | The passenger
Concert Repertoire:
BACH | Matthäus-Passion
DURUFLÉ | Requiem
MAHLER | Symphonie N.2
LANGLAIS | Missa in Simplicitate
ROSSINI | Stabat Mater
VERDI | Requiem**
WAGNER | Wesendonck Lieder
*learned
**in preparation
Critic «The rape of Lucretia» – Lucretia
(Innsbruck)
(Innsbruck)
“
It was a performance to which she brought layers of emotional expression; she was uneasy, she was terrified and combative, hysterical and reflective, suffered shame and misplaced guilt, yet it was all perfectly placed and never descended into cliché. Ignata’s has a flexible, colorful mezzo-soprano with bright piercing top notes and is secure under pressure, all of which made her well-suited to the role.
The scene in which Lucretia relates the events of the night before to her husband, beginning “To love as we loved” was particularly strong; weaving subtly and carefully crafted phrases Irina Ignata captured her deep sadness and disembodied state perfectly as she reflected on her love for Collatinus and her shame of being abused.
The scene in which Lucretia relates the events of the night before to her husband, beginning “To love as we loved” was particularly strong; weaving subtly and carefully crafted phrases Irina Ignata captured her deep sadness and disembodied state perfectly as she reflected on her love for Collatinus and her shame of being abused.