Larissa Diadkova

Biography

Born: 1955; Zelenodolsk  
This Russian mezzo soprano, more correctly described as a mezzo contralto, worked for some time in the shadow of her younger colleague Olga Borodina; but since coming to international fame, she has made up for lost time. Her dark, immensely powerful voice, rising from timber-rattling chest tones to a focused penetrating top, makes so bold a sound as to arrest the attention of the most distracted audiences. Her fiery temperament in the big Russian Read more and Italian dramatic roles is evident everywhere, but never allowed to spill over into self-indulgence. She is both a vivid and credible personage on-stage, and she has achieved equal success as a concert singer, winning the support of major conductors.

Although there is some question about her exact date of birth, most sources agree on 1955 as the year. After studies at the Leningrad Conservatory, she was engaged by the Kirov Opera in 1978 and made slow but steady progress through the ranks and into leading roles. In 1984, Diadkova was a winner in the Glinka competition, but found the international recognition was somewhat at arms length owing to the stunning presence of the somewhat more glamorous Borodina. Still, once the Soviet Union crumbled and Leningrad became St. Petersburg once more, the increase in touring by the Kirov obliged the company to put forth all of their most qualified artists. In addition, many Kirov singers, so carefully groomed by music director Valery Gergiev, chose to pursue more lucrative careers in the West, making greater opportunities for others on the roster.

Diadkova not only sang more important engagements, but was also offered more opportunities to record her core repertory. She filled highest expectations as both Pauline and the Countess in Tchaikovsky's Pique Dame, also achieving high marks for her Duenna in Prokofiev's Betrothal in a Monastery, Lyubov in Mazeppa, Nezhata in Sadko, Marfa in Khovanshchina, Konchakovna in Prince Igor, Ratmir in Glinka's Russlan and Ludmilla, Kashcheyevna in Kashchey the Immortal, and Olga in Yevgeny Onegin. Moreover, she was increasingly heard in Verdi roles for which her huge, flame-like voice was perfectly suited. When Gergiev discussed his forthcoming 2001 Aida in a tour of Great Britain, he boasted of Diadkova, saying "she is tremendous," noting further that she was a part of the first cast, while Borodina was to sing with the second cast.

When Diadkova sang in the San Francisco Opera's Betrothal in a Monastery in 1998, one reviewer maintained that he heard in her voice and style "a sure-fire Azucena." She has since sung that role with great success at the Metropolitan Opera in 1999 and has proven herself an exemplary Ulrica at both Verona and Dallas. In addition to London, her Amneris has been heard at the Maggio Musicale Fiorentino and in Houston. In April 2001, she sang Mistress Quickly with Claudio Abbado and the Berlin Philharmonic at the Salzburg Easter Festival (a role she also recorded with the same forces). Critic Richard Fairman of the London Financial Times found her characterization that of "a well-meaning auntie," but noted that her "rasping chest tones" clearly equipped her for other grander Verdi mezzo roles.

In 1999, Diadkova's performance of the Shostakovich edition of Mussorgsky's Songs and Dances of Death with Mstislav Rostropovich and the Chicago Symphony Orchestra transfixed a conference of music critics, causing some to wonder if she was being amplified (she wasn't). Read less

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Biography

Born: 1955; Zelenodolsk  
This Russian mezzo soprano, more correctly described as a mezzo contralto, worked for some time in the shadow of her younger colleague Olga Borodina; but since coming to international fame, she has made up for lost time. Her dark, immensely powerful voice, rising from timber-rattling chest tones to a focused penetrating top, makes so bold a sound as to arrest the attention of the most distracted audiences. Her fiery temperament in the big Russian Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Dni byez prosveta
Ya vizhu dyevu krasoti chudyesnoi
Tyomni yeyo ochki
Vy, gusli samogudi
Nastala noch' zatikhnul vyeterok
Glukhaya noch', dorogi dalshe nyet
Pit'yo prokhladnaya vernyot vsyo sili
Zasnul...tvoi chas nastal
Bayu, bai, Kashchyei syedoi!
Myeryeshchitsa?
Prosti, lyubimi korolyevich moi!
Konyets zlomu tsartsvu!
Introduction
"Sabralis'a my, gosti targovye"
"Strunku k strunachke ty nat'agivaj" - "Prasvet'a svetel mas'ats na nebe"
"Budit krasen den'v palavinu dn'a"
"Kaby byla un min'a zalata kazna"
"Goj, ty, Sat-Satko, dobryj moladets"
"V Novegorade velikam"
"Oj ty, t'omnaja dubravushka!"
"A-a-a." - "Vyhadite, vy, is sin'a ozera"
"Zaigrjte, mai gusel'ki"
"Svet'at rasoju medv'anaju kosy tvai"
"Mes'ats zalatyje roshki"
"Fs'u noch zhdala jevo ja panaprasnu"
"Ali v'jaf' sa mnoj diva sadejalas?"
"Pasmatrite ka, l'udi vol'nyje"
"Paklon vam, gosti imenityje!"
"Kak na ozere na Il'mene"
"A skaly groznyje drab'atsa s r'ovem volny"
"Ni sh'est' almazaf f kamnnyh pisherah"
"Gorat kamennyj, garadam fsem mat'
"A i v Vedenets slavnyj put'ty derzhy"
"Vysata li, vysata li padnebesnaja"
"Ush kak po mor'u, mor'u sinemu"
"Goj, druzhyna vernaja, padnachal'naja"
"Nikak pajut?"
"Glup' glubokaja, Akian more"
"Sineje more grozna, shiroka"
"Nu, garast, Satko, ty pet'igrat?"
"Paigraj va gusli zvonkije"
"Slaven, groznyj Tsar' Marskoj"
"Aj, ne f poru raspl'asals'a"
Introduction - "Moladets moj"
"Son pa bereshku hadil"
"Oh, toshna mne, tashn'ohan'ko"
"A i zdrastvuj zhe ty, moj zhetannyj mush"
"F staranah gul'al ja dal'nih"
"Slava starchish'u"
1. The Dragonfly and the Ant
2. The Ass and the Nightingale
Introduction
No. 1 Girl's Chorus and Scene
No. 2 Scene, Arioso and duet
No. 3 Scene
No. 4 Chorus and Dance
No. 4: Hopak
No. 5 Scene and Arioso
No. 6 Quarrel Scene
No. 7 Chorus and Mother's Lament
No. 8 Finale
No. 9 Prison Scene
No. 10 Mazeppa's Monologue and Scene with Orlik
No. 10a Mazeppa's Arioso
No. 11 Mazeppa's Scene with Maria
No. 12 Scene between Maria and her Mother
No. 13 Crowd Scene
No. 14 Finale
No. 15 The Battle of Poltava
No. 16 Scene and Andrey's Aria
No. 17 Scene and Duet
No. 18 Scene - Appearance of the Demented Maria
No. 19 Finale
Zwei Gesänge für eine Altstimme mit Bratsche und Klavier Op. 91: Gestillte Sehnsucht
Geistliches Wiegenlied
Il Trovatore, Parte Prima - Il Duello, Scena prima: All'erta! all'erta! Il Conte n'è d'uopo attender vigilando (Ferrando/Famigliari/Armigeri)
Il Trovatore, Parte Prima - Il Duello, Scena prima: Di due figli vivea padre beato (Ferrando/Famigliari/Armigeri)
Il Trovatore, Parte Prima - Il Duello, Scena prima: E il padre? / Brevi e tristi giorni visse (Famigliari/Armigeri/Ferrando)
Il Trovatore, Parte Prima - Il Duello, Scena prima: Sull'orlo dei tetti (Famigliari/Armigeri/Ferrando)
Il Trovatore, Parte Prima - Il Duello, Scena seconda: Che più t'arresti? (Ines/Leonora)
Il Trovatore, Parte Prima - Il Duello, Scena seconda: Ascolta. Tacea la notte placida (Leonora)
Il Trovatore, Parte Prima - Il Duello, Scena seconda: Quanto narrasti di turbamento (Ines/Leonora)
Il Trovatore, Parte Prima - Il Duello, Scena seconda: Di tale amor, che dirsi (Leonora/INes)
Il Trovatore, Parte Prima - Il Duello, Scena terza: Tace la notte! (Il Conte)
Il Trovatore, Parte Prima - Il Duello, Scena terza: Il Trovator! Io fremo / Deserto sulla terra (Il Conte/Manrico)
Il Trovatore, Parte Prima - Il Duello, Scena quarta: Non m'inganno. Ella scende! (Il Conte/Leonora/Manrico) - Scena Quinta: Qual voce (Leonora/Manrico/Il Conte)
Il Trovatore, Parte Prima - Il Duello: (Scena quinta) Di geloso amor sprezzato (Il Conte/Leonora/Manrico)
Il Trovatore, Parte Seconda - La Gitana, Scena prima: Vedi! le fosche notturne spoglie (Zingari e Zingare)
Il Trovatore, Parte Seconda - La Gitana, Scena prima: Stride la vampa! (Azucena)
Il Trovatore, Parte Seconda - La Gitana, Scena prima: Mesta è la tua canzon! (Zingari e Zingare/Azucana/Manrico/Un vecchio zingaro)
Il Trovatore, Parte Seconda - La Gitana, Scena prima: Soli or siam! Deh, narra quella storia funesta (Manrico/Azucena(
Il Trovatore, Parte Seconda - La Gitana, Scena prima: Condotta ell'era in ceppi (Azucena/Manrico)
Il Trovatore, Parte Seconda - La Gitana, Scena prima: Quand'ecco agliegri spirti (Azucena/Manrico)
Il Trovatore, Parte Seconda - La Gitana, Scena prima: Non son tuo figlio? (Manrico/Azucena)
Il Trovatore, Parte Seconda - La Gitana, Scena prima: Mal reggendo all'aspro assalto (Manrico/Azucena)
Il Trovatore, Parte Seconda - La Gitana, Scena prima: L'usato messo Ruiz invia (Manrico/Azucena) / Scena seconda: Inoltra il piè (Manrico/Un messo/Azucena)
Il Trovatore, Parte Seconda - La Gitana: (Scena seconda) Perigliarti ancor languente (Azucena/Manrico)
Il Trovatore, Parte Seconda - La Gitana, Scena terza: Tutto è deserto (Il Conte/Ferrando)
Il Trovatore, Parte Seconda - La Gitana, Scena terza: Il balen del suo sorriso (Il Conte)
Il Trovatore, Parte Seconda - La Gitana, Scena terza: Qual suono! O ciel! (Il Conte/Ferrando)
Il Trovatore, Parte Seconda - La Gitana, Scena terza: Ardir! andiam celiamoci / Per me ora fatale (Seguaci del Conte/Ferrando/Il Conte)
Il Trovatore, Parte Seconda - La Gitana, Scena terza: Ah! se l'error t'ingombra No, no, non può nemmen Dio (Religiose/Il Conte/Ferrando/Seguaci del Conte)
Il Trovatore, Parte Seconda - La Gitana, Scena quarta: Perchè piangete?...Degg'io volgermi a Cuei (Leonora/Ines)
Il Trovatore, Parte Seconda - La Gitana, Scena quarta: No giammai! / Il Conte (Il Conte/Ines/Religiose/Leonora/Seguaci del Conte)
Il Trovatore, Parte Seconda - La Gitana, Scena quarta: E deggio e posso crederlo? (Leonora/Il Conte/Manrico/Ines/Ferrando/Religiose/Seguaci de Conte/Ruiz/Seguaci di Manrico)
Dni byez prosveta
Ya vizhu dyevu krasoti chudyesnoi
Tyomni yeyo ochki
Vy, gusli samogudi
Nastala noch' zatikhnul vyeterok
Glukhaya noch', dorogi dalshe nyet
Pit'yo prokhladnaya vernyot vsyo sili
Zasnul...tvoi chas nastal
Bayu, bai, Kashchyei syedoi!
Myeryeshchitsa?
Prosti, lyubimi korolyevich moi!
Konyets zlomu tsartsvu!
Introduction
No. 1 Girl's Chorus and Scene
No. 2 Scene, Arioso and duet
No. 2: "I've loved you since we were children"
No. 3 Scene
No. 4 Chorus and Dance
No. 4: Hopak
No. 5 Scene and Arioso
No. 5: "Young Love can flare up"
No. 6 Quarrel Scene
No. 6: "You crazy old man"
No. 6: "Kochubey! I was wrong"
No. 7 Chorus and Mother's Lament
No. 8 Finale
No. 9 Prison Scene
No. 9: "So this is the reward"
No. 9: "It's you, you cruel man!"
No. 9: "No, you are not mistaken"
No. 10 Mazeppa's Monologue and Scene with Orlik
No. 10: "How still is the Ukrainian night"
No. 10a Mazeppa's Arioso
No. 11 Mazeppa's Scene with Maria
No. 11: "Long has my mind been working on a plan"
No. 11: "When I am near you I know no fear"
No. 12 Scene between Maria and her Mother
No. 13 Crowd Scene
No. 14 Finale
No. 14: "My friend, let us offer up for the last time"
No. 14: "Hear the prayers of repentance"
No. 15 The Battle of Poltava
No. 16 Scene and Andrey's Aria
No. 16: "Here days passed by in happy succession"
No. 17 Scene and Duet
No. 17: "You destroyer of sacred innocence"
No. 18 Scene - Appearance of the Demented Maria
No. 18: "O hush, hush, hush my dear!"
No. 18: "I remember a field"
No. 19 Finale
No. 19: "Wake up, I am dying"
No. 19: "Sleep, my baby, my pretty"
Overture
"But that is just fantasy!"
"Plain. Round-shouldered"
"She has shaken your hand"
"The moon looks in at your window"
"Stop that mewing"
Masker's Dance
" I had better get her married her off"
"Friends, depart"
"It will work, Nanny, won't it?"
"Splendid, Señor, splendid"
"Will you cherish me in my old age?"
"Give it back!"
"If you have a daughter"
"It looks like the first act"
"Buy some fish"
"Rosina...Rosina..."
"Ferdinand alone is dearer"
"If I had known"
"My beard?"
"There is no greater happiness"
"Yes, yes, yes, yes, yes!"
"My prettty...My pretty..."
"When the cheerful fop starts hanging around"
"Well?"
"Ah, time does not want to move on at all"
"Come in, come in, Antonio"
"Should we take a sly look"
"It's bad to peep"
"How my soul is beaming!"
"You are not playing in tune"
"My respectful greetings to the Señor"
"Please, let us continue"
"Lopez!"
"Here I am, a nun"
"They have gone gladdened"
"It must be here..."
"The bottle is the sun of our lives"
"To the pretty nun"
"They're bring more wine!"
"Take care, Antonio!"
"Straight down to business now"
"I can't understand it"
"Aha, here's Mendoza at last"
"What is this?"
"Son! At last"
"Don Jerome, Don Jerome!"
Introduction
"Moj ptenchik, Iolanta"
"Atchevo eta prezhde ne znala"
"Polna, ni nada, radnaja"
"Brigitta, eta ty?"
"Spi, pust'Ang'ely krylami navevajut sny"
"Prizyvnyj rok..."
"Gaspot'moj, jesli greshen ja"
"Tvajo litso besstrasna"
"Dva mira: plotskij i duhovnyj"
"Ne tarapis'"
"Net! Chary lask krasy m'atezhnaj"
"Adnaka, gde zhe my?"
"Vy mne petstali kak veden'je"
"Tvajo malchan'je nepan'atna"
"Iolanta! Gde ty?"
"Net, nazavi muchen'ja"
"Prasti min'a, ja abmanul tib'a"
"Gotfrid, ja vyruchat'tib'a javilsa"
"Gde ja?"
"Blagoj velikij, neizmennyj"
"Zdes', gospodin rycar'"
"Da, on rassejalsja"
"U vas vse vremja sum kakoj-to"
"Ne dovol'no l'"
"Sista...sista...sista..."
"...iz trech magiceskich krugov"
"A, Jakov Glok"
"Slysis' li ty stuk?"
"Zaklinaju tebja"
"Tam net nikogo"
- Entr'acte -
"Magister doctissime"
"Genrich, vernis', vernis', vernis!"
"Ubej ego, Ruprecht!"
"Renata, perestan' ze plakat'"
- Entr'acte -
"Milostivaja dama, on opasno ranen"
"Renata, molju tebja..."
"Baraniny! Vina i baraniny!"
"Ach, negodjaj!"
"Sestra Renata"
"Vozljublennye brat'ja i sestry"
"A...!"
"Duch lukavyi"
"Sestry! Sestry! Sestry! A!"
Introduction
"Sabralis'a my, gosti targovye"
"Strunku k strunachke ty nat'agivaj" - "Prasvet'a svetel mas'ats na nebe"
"Budit krasen den'v palavinu dn'a"
"Kaby byla un min'a zalata kazna"
"Goj, ty, Sat-Satko, dobryj moladets"
"V Novegorade velikam"
"Oj ty, t'omnaja dubravushka!"
"A-a-a." - "Vyhadite, vy, is sin'a ozera"
"Zaigrjte, mai gusel'ki"
"Svet'at rasoju medv'anaju kosy tvai"
"Mes'ats zalatyje roshki"
"Fs'u noch zhdala jevo ja panaprasnu"
"Ali v'jaf' sa mnoj diva sadejalas?"
"Pasmatrite ka, l'udi vol'nyje"
"Paklon vam, gosti imenityje!"
"Kak na ozere na Il'mene"
"A skaly groznyje drab'atsa s r'ovem volny"
"Ni sh'est' almazaf f kamnnyh pisherah"
"Gorat kamennyj, garadam fsem mat'
"A i v Vedenets slavnyj put'ty derzhy"
"Vysata li, vysata li padnebesnaja"
"Ush kak po mor'u, mor'u sinemu"
"Goj, druzhyna vernaja, padnachal'naja"
"Nikak pajut?"
"Glup' glubokaja, Akian more"
"Sineje more grozna, shiroka"
"Nu, garast, Satko, ty pet'igrat?"
"Paigraj va gusli zvonkije"
"Slaven, groznyj Tsar' Marskoj"
"Aj, ne f poru raspl'asals'a"
Introduction - "Moladets moj"
"Son pa bereshku hadil"
"Oh, toshna mne, tashn'ohan'ko"
"A i zdrastvuj zhe ty, moj zhetannyj mush"
"F staranah gul'al ja dal'nih"
"Slava starchish'u"


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