Anna Orlichuk
Profile
Pitch of Voice
Mezzo-soprano
Nationality
Russia & Israel
Studies
Master Specialized Music Performance – Opera
Academic Year
2025
Vocal coach
Claude Eichenberger
Former musical studies
- Mariinsky Theatre Academy of Young Singers, 2018–2022 – Artist.
Vocal coach Galina Gorchakova - Bachelor's degree, 2013–2017, Saint Petersburg State University, Faculty of Arts – Diploma with distinction. Professor Galina Gorchakova
CV
Most important projects/concerts:
- 2024: Sesto in La clemenza di Tito by Mozart, Croatian National Theatre, Varaždin, Croatia
- 2023: Rosina in Il barbiere di Siviglia by Rossini, Teatro Savoia, Campobasso, Italia
- 2023: Mademoiselle Dangeville in Adriana Lecouvreur by Cilea, Narva Ooperipäevad, Narva, Estonia
- 2023: Dorothée in Cendrillon by Massenet, Trentino Musical Festival, Trento, Italy
- 2022: Maddalena in Rigoletto by Verdi, Serbian National Theatre, Novi Sad, Serbia
- 2020: Tsar’s page in Snow Maiden by Rimsky-Korsakov (cover), Mariinsky theatre, Saint Petersburg, Russia
- 2019: Bandit Cat/Worm in Murych the Cat by Banevich, Mariinsky theatre, Saint Petersburg, Russia
- 2018: Firefly in Snow White by Kolmanovsky, Mariinsky theatre, Saint Petersburg, Russia
- 2017: Totosha in Moydodyr by Levitin, Mariinsky theatre, Saint Petersburg, Russia
Masterclasses:
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2024: Bruna Baglioni
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2023: Alessandro Corbelli
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2023: Chelsea Bonagura / Jean-Michel Charbonnet
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2022: Mikhail Sinkevich
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2017: Larissa Gergieva
Interview: Three questions for Anna Orlichuk
Why are you studying opera?
I explored multiple forms of artistic expression and was fortunate to grow up playing the piano. As a pianist I had communicated only through sound, but opera opened an entirely new dimension for me: one where music and text create characters, where drama and music are inseparable, and where I can experience and share many lives.
What was your first encounter with opera?
I discovered opera through Prince Igor with Olga Borodina as Konchakovna – it revealed to me how opera can embrace history, myth and human passion all at once. But my true love began with Tchaikovsky’s Eugene Onegin. In the garden scene, as Tatiana waits for Onegin’s response, I discovered the opera's unique ability to capture longing, vulnerability and truth.
Which is your favourite opera and why?
It is impossible to choose a single favorite opera, because our perception of what we love changes with us – and I find pure beauty in this instability. I would always choose the opera I am working on in the moment, but if I had to name one, it would be La Traviata – simply brilliant in every detail, music I could listen to endlessly.
