Lyubov Kazarnovskaya began her international career by making her debut at the Salzburg Summer Festival at the invitation of Herbert von Karajan in Verdi's Requiem under the direction of Riccardo Muti. This sensational performance marked the beginning of her dizzying career, which later took her to such opera houses as Covent Garden, Metropolitan Opera, Lyric Chicago, San Francisco Opera, Wiener Staatsoper, Teatro Colon, Houston Grand Opera.

In 1996, Lyubov Kazarnovskaya took part with great success in the European premiere of Prokofiev’s opera “The Gambler” at the La Scala Theater, and in February 1997 she triumphantly sang the role of Salome (“Salome” by Richard Strauss) at the Teatro Santa Cecilia in Rome. Kazarnovskaya is the first and so far the only Russian singer to perform this most difficult role on opera stages around the world.

Kazarnovskaya collaborated withleading masters of opera. Among them are Kleiber, Muti, Zeffirelli, Thielemann, Barenboim, Temirkanov, Jansons, Svetlanov and directors Taymor, Egoyan, Zeffirelli, Wikk, Dew. Her repertoire includes more than 50 opera roles and a huge repertoire of chamber music. Favorite rolesLyubov Kazarnovskaya- Tatiana, Violetta, Salome, Tosca, Manon Lescaut, Leonora (“Force of Destiny”, Amelia (“Masquerade Ball”).

Lyubov Kazarnovskaya combines intense theatrical work with active concert activities. Romances are her special love. The performance of all Tchaikovsky's romances brought Kazarnovskaya the "Golden Prize" of criticism. She is the first singer to record (on five CDs) all 103 Tchaikovsky romances. With these discs and his numerous concerts in various music centers around the world, LoveYurievnaKazarnovskaya opens the work of Russian composers to the Western public.

Lyubov Kazarnovskaya participated a lot insuchproductions like “Salome” by film director Atom Egoyan or John Dew’s “Simon Boccanegra” in Cologne, where the entire stage is built of mirrors that become either the sea, then the sky, then a balcony, then a room. "In general, any production is an adventure in a good sense,- says Lyubov Yuryevna. - Any true artist needs adventurism, since you are putting your professional status as an actress and singer on the line".

In 1997, the singer created the Lyubov Kazarnovskaya Foundation.in order to support opera art in Russia. Through the fund, concerts and master classes are held in Russia by leading masters of world vocal art - Renata Scotto, Franco Bonisolli, Simon Estes, Jose Cura and many others. The Foundation has established scholarships to help young Russian singers.

Another unexpected project involvingLyubovKazarnovskaya - "Portrait of Manon" on the stage of the Bolshoi Theater of Russia. The performance combines the most striking fragments of two operas at once - the French "Manon" by Massenet and the Italian "Manon Lescaut" by Puccini. The idea of ​​​​creating the performance belonged to the Lyubov Kazarnovskaya Foundation and was brought to life by a truly “opera team of the world”: singers from Russia, Italy, Mexico, France, Sweden, and Germany took part in the performance. In "Portrait of Manon" Kazarnovskaya for the first time performed two roles in one evening in the operas "Manon" by Massenet and "Manon Lescaut" by Puchchini.

The singer's recent work is the role of Santuzzi in Mascagni's opera La honour rural, staged by Evgeny Kolobov at the Novaya Opera Theatre.Currently, Lyubov Kazarnovskaya is preparing new programs for solo concerts, new opera roles (Carmen, Isolde, Lady Macbeth), planning numerous tours abroad and in Russia, and starring in films.

"Metropolitan Opera", "New York Times"

"Powerful, deep, superbly controlled soprano, expressive throughout the entire range... The range and brightness of the vocal characteristics are especially impressive"

Lincoln Center, solo concert, "New York Times"

France, "Le Monde de la Musique"

“The Russian singer is so radiant in the role of Salome,” the ice began to melt in the streets when Lyuba Kazarnovskaya sang the final scene of “Salome” ...”

"Cincinnati Enquirer"

About music:“...Her voice is deep and seductively insinuating... Touching, beautifully executed scenes of Tatyana’s letter and her last meeting with Onegin leave no doubt about the singer’s highest skill”; "...Powerful, deep, superbly controlled soprano, expressive throughout the entire range...The range and brightness of vocal characteristics are especially impressive"; “...Kazarnovskaya’s voice is focused, delicately deep in the middle register and light in the upper register... She is a radiant Desdemona”; “...Lyuba Kazarnovskaya charmed the audience with her sensual soprano, magically sounding in all registers”; “The Russian Diva is so radiant in the role of Salome,” the ice began to melt in the streets when Lyubov Kazarnovskaya sang the final scene of “Salome”... These few quotes are only a small part of the enthusiastic responses accompanying Lyubov Kazarnovskaya’s performances. Let us also listen and enjoy her execution...

Did you know

The most erotic Russian soprano

Kazarnovskaya is a person who lives brightly. She probably could have become a journalist, impresario, film actress, or fashion model. But the general’s daughter decided to devote herself to singing. In the future, Lyuba will be called more than once the hottest and erotic Russian soprano. She sang at the Metropolitan, Covent Garden, and La Scala. Having married the Austrian opera producer Robert Roscik, Kazarnovskaya was forced (for various reasons) to leave Russia for several years.
Author: Andrey Khripin
Website: Arguments and Facts
Now she lives in Moscow again and travels a lot around the world. Tired of the usual opera, I decided to try myself on the stage - I sang with Baskov, Kirkorov, and did several of my own shows. She organized her own Foundation and, together with her husband, took up international projects. Next up is her joint concert in the Kremlin with the sex symbol of world opera, the popular Argentine tenor Jose Cura.
- Kura is a special figure in the opera world. He is called the singer of the 21st century and is paid the highest fees. He is the face of today's opera, and not a person of the “third freshness”. Jose is not only magnificent as a tenor, but also handsome as a man, I would say, very carnal beauty - women go crazy at the sight of this Argentine macho, but, to their chagrin, he is a good family man and will come to us with his wife.
The unusualness of his Moscow visit will be that Kura will show himself from different sides: he will sing with me at the opera gala in the Kremlin not only as a tenor, but also as a baritone, and will give a separate symphony concert at the Conservatory as a conductor.
And then - the mafia!
- TODAY it seems that the opera conveyor is no longer driven by conductors, not directors, or even great artists, but by impresarios and capital.
- Unfortunately, so. Opera today is ruled not by music, but by the mafia - theatrical, near-theatrical, all kinds. The international market has become a mess.
I began my international career in the late 80s and can testify that the picture was diametrically opposite - “opera Asia” was just beginning to wake up. What happened next? The floodgates opened, theater directors received fantastically cheap labor, and not always of the best quality. For a thousand dollars a month, all of Prague, Bratislava, Budapest and Warsaw now happily sit in Vienna. As a result, today the same Vienna Opera, which is considered a “super A” class theater, is overgrown with weeds like a vegetable garden. "Opera Bastille" has been performing all its recent seasons with Russian singers. Although we are all now faced with the tightening of entry visas for work in Italy, America and other countries. Now they would like to protect themselves with an iron curtain from Eastern Europe and Russia.
- You listen to the impresario, you read the Western press - everyone is dissatisfied with Russian singers, and theaters still take them in batches. What's the matter?
- In money. Our fees in the West are an order of magnitude lower than those of Western stars!
Sex is not a hindrance to singing
- WHEN you sing the anthem of the Russian Federation at the stadium, is there some kind of compromise in this?
- Not at all. Our anthem is now in a difficult state, since it is constantly being “lowered”. They turned to me for help to lift him up, to give him a face. When Pavarotti sings the Italian anthem before important competitions, and Domingo sings the Spanish anthem, this gives the event a special patriotic status and the anthem a special sonority. There is no need to be ashamed of this - this is the anthem of your country. And I'm proud that I sang at the stadium. It’s not a matter of good or bad words, but whether you love Russia or not. When I sang, our team, for whom the question of “sink or fall” was being decided, stood with tears in their eyes, hand on heart. The anthem is like a communal prayer that raises morale. Believe me, I convinced myself. After the match, the Irish coach came up to me and said: “Madam, you ensured victory for your team, now we in Ireland will also rewrite the anthem with our opera stars.”
- What do you usually eat on the day of the performance?
- On the day of the performance, I don’t eat anything - I drink a lot of mineral water, slightly sweet green tea. The most I allow myself is a few bananas and a cup of strong coffee before going on stage. When you eat a big meal, you want to immediately lie down on the sofa, your energy levels immediately drop, and all your energy goes into digesting. When I'm reasonably hungry, I want to create. When you are full, you want to relax and, say, listen to others. In ordinary life, I adhere to the principle of separate meals; I do not mix meat with potatoes and pasta.
- Why are many opera singers so fat?
- Because they eat a lot. The singer's diaphragm puts pressure on the stomach, and a false feeling of hunger is created. They're getting full. They can't stop. It becomes a reflex. Metabolism and appearance gradually change. In the end, the person is doomed to disability. And how many such victims of opera are there! Alessandra Mark left the stage, Sharon Sweet announced her departure, Jane Eaglen can hardly move. Jessie Norman is an athlete compared to them.
- Hvorostovsky believes that sex life immediately before a performance has a stronger effect on tenors and female voices than on baritones and basses. What do you say?
- Everything should be in moderation, as Jawaharlal Nehru said. There are singers who cannot go on stage without sexual doping, and two hours before the concert they need a man. And there are male singers who need to stop having sex a week before the performance.
- Do you have stage fetishes or superstitions?
- If I find a nail, nut or screw on the way to the stage, then it’s good luck.

Click to close spoiler: Did you know?

Lenin Komsomol Prize (1986) - for the performance of opera roles and concert programs of 1982-1985

Click to close spoiler: Awards

List of songs

01. Foggy morning (V. Abaza - I. Turgenev)
02. Aria Valli from the opera “Valli” (A. Catalani - L. Illica)
03. Habanera Carmen from the opera “Carmen” (J. Bizet - A. Melyac, L. Halevi)
04. Mattinata (R. Leonkavalio)
05. Amidst the noisy ball (P. Tchaikovsky - A. Tolstoy)
06. Traffic complaints (M. Bernard - A. Pushkin)
07. O Sole Mio (E. Di Capua - G.Cappura)
08. Does the day reign (P. Tchaikovsky - A. Apukhtin)
09. Song of the Duke from the opera “Rigoletto” (G. Verdi - F. Piave)
10. The night is bright (N. Shishkin - N. Yazykov)
11. Night (A. Rubinstein - A. Pushkin)
12. Night (folk)
13. Gypsy (G. Verdi - S. Cammarano)
14. Gypsy songs (opus 79№7) (R. Schumann - E. Geibel)
15. Gypsy songs (opus 79№8) (R. Schumann - E. Geibel)
16. Georgian song (M. Balakirev - A. Pushkin)
17. 3 Gypsies (F. Liszt - N. Lenau)
18. Melody of Leonora from the opera “Force of Destiny” (G. Verdi - F. Piave)
19. Melody of Leonora from the opera “Force of Destiny” (G. Verdi - F. Piave)

“Her voice is deep and seductively insinuating... Touching, beautifully performed scenes of Tatiana’s letter and her last meeting with Onegin leave no doubt about the singer’s highest skill (Metropolitan Opera, New York Times)
“Powerful, deep, superbly controlled soprano, expressive throughout the entire range... The range and brightness of the vocal characteristics are especially impressive” (Lincoln Center, recital, New York Times)
“Kazarnovskaya’s voice is focused, delicately deep in the middle register and light in the upper register... She is a radiant Desdemona” (France, “Le Monde de la Musique”).
“...Luba Kazarnovskaya charmed the audience with her sensual soprano, magically sounding in all registers” (“Muenchner Merkur”).
“The Russian Diva is so radiant in the role of Salome,” the ice began to melt in the streets when Lyuba Kazarnovskaya sang the final scene of “Salome” ... (“Cincinnati Enquirer”)

These few quotes are only a small part of the enthusiastic responses accompanying the performances of Lyubov Kazarnovskaya.

Lyubov Yurievna Kazarnovskaya, Doctor of Music, Professor, was born in Moscow, in a family, at first glance, far from the musical sphere: mother, Lidiya Aleksandrovna Kazarnovskaya, a philologist, teacher of Russian language and literature, father, Yuri Ignatievich Kazarnovsky, a reserve general; elder sister – Bokadorova Natalya Yurievna – philologist, professor of French language and literature.

Lyuba always sang, after school she took the risk of applying to the Gnessin Institute - the faculty of musical theater actors, although she was preparing to become a student at the faculty of foreign languages. Her student years gave Lyuba a lot as an actress, but the decisive one was her meeting with Nadezhda Matveevna Malysheva-Vinogradova, a wonderful teacher, vocalist, Chaliapin’s accompanist, and a student of Stanislavsky himself. In addition to invaluable singing lessons, Nadezhda Matveevna, the widow of the literary critic and Pushkin scholar Academician V.V. Vinogradov, revealed to Lyuba all the power and beauty of Russian classics, taught her to understand the unity of music and words hidden in it. The meeting with Nadezhda Matveevna finally determined the fate of the young singer.
1981 – at the age of 21, while still a student at the Moscow Conservatory, Lyubov Kazarnovskaya made her debut in the role of Tatyana (“Eugene Onegin” by Tchaikovsky) on the stage of the Stanislavsky and Nemirovich-Danchenko Musical Theater.
Laureate of the All-Union Glinka Competition (2nd prize)

Since then, Lyubov Kazarnovskaya has been at the center of the musical life of cultural events in Russia.
1982 - graduated from the Moscow State Conservatory and in 1985 - graduate school in the class of associate professor Elena Ivanovna Shumilova.
1981-86 - soloist of the Stanislavsky and Nemirovich-Danchenko Musical Academic Theater, in the repertoire of “Eugene Onegin” by Tchaikovsky, “Iolanta”, “May Night” by Rimsky Korsakov, “Pagliacci” by Leoncavallo”, “La Boheme” by Puccini.
1984 - sings the part of Fevronia in “The Tale of the Invisible City of Kitezh” by Rimsky Korsakov, and then in 1985 – Tatiana (“Eugene Onegin” by Tchaikovsky) and Nedda (“Pagliacci” by Leoncavallo) at the State Academic Theater of Russia.
1984 - Grand Prix of the UNESCO Young Performers Competition (Bratislava)
Laureate of the Mirjam Hellin Competition (Helsinki) – III prize and honorary diploma for the performance of an Italian aria – personally from Birgit Nilsson
1986 - Laureate of the Lenin Komsomol Prize
1986-1989 – leading soloist of the State Academic Theater named after Kirov: Leonora (“Force of Destiny” by Verdi). Margarita (“Faust” by Gounod), Donna Anna and Donna Elvira (“Don Giovanni” by Mozart), Leonora (“Il Trovatore” by Verdi), Violetta (“La Traviatta” by Verdi), Tatyana (“Eugene Onegin” by Tchaikovsky), Lisa (“Pikovaya” Lady” by Tchaikovsky), Soprano (“Requiem” by Verdi)
First foreign triumph: at the Covent Garden Theater (London), in the role of Tatiana in Tchaikovsky’s opera “Eugene Onegin”.
1989 - “Maestro of the World” Herbert von Karajan invites the young singer to “his” festival - the summer festival in Salzburg.
August 1989 - triumphant debut in Salzburg. (“Requiem” by Verdi, conducted by Riccardo Muti). The entire musical world noted and appreciated the performance of the young soprano from Russia. This sensational performance marked the beginning of a dizzying career that later took her to such opera houses as Covent Garden, Metropolitan Opera, Lyric Chicago, San Francisco Opera, Wiener Staatsoper, Teatro Colon, Houston Grand Opera. Her partners are Pavarotti, Domingo, Carreras, Araiza, Nucci, Capuccilli, Cossotto, von Stade, Baltza.
September 1989 - participation in the world gala concert on the stage of the Bolshoi Theater of Russia in support of the victims of the earthquake in Armenia, together with Kraus, Bergonzi, Prey, Arkhipova.
1992-1998 - close collaboration with Metropoliten Opera
1994-97 - close collaboration with the Mariinsky Theater and Valery Gergiev.
1996 - Lyubov Kazarnovskaya successfully debuted on the stage of the La Scala Theater in Prokofiev’s opera “The Player”, and in February 1997 she triumphantly sang the role of Salome at the Rome Teatro Santa Ctcilia. The leading masters of operatic art of our time work with her - conductors such as Muti, Levine, Thielemann, Barenboim, Haitink, Temirkanov, Kolobov, Gergiev, directors - Zeffirelli, Egoyan, Wikk, Taymor, Dew...

“La Kazarnovskaya” - as the Italian press calls it - has more than fifty parts in its repertoire. She is called the best Salome of our days, the best performer of the operas of Verdi and the verists, not to mention Tatiana from “Eugene Onegin” - her calling card. Particular success was brought to her by performing the main roles in the operas “Salome” by Richard Strauss, “Eugene Onegin” by Tchaikovsky, “Manon Lescaut” and “Tosca” by Puccini, “Force of Destiny” and “La Traviatta” by Verdi.

1997 - Lyubov Kazarnovskaya creates her own organization in Russia - the “Lyubov Kazarnovskaya Foundation” - to support the opera art of Russia:
invites leading masters of vocal art to Russia for concerts and master classes, such as Renata Scotto, Franco Bonisolli, Simon Estes, Jose Cura and others.
establishes scholarships to help young Russian singers.

* 1998-2000 - close cooperation with the Bolshoi Theater of Russia.
2000 - the singer patronizes the world's only Children's Opera Theater named after Lyubov Kazarnovskaya (Dubna). With this theater, Lyubov Kazarnovskaya is planning interesting projects in Russia and abroad.
2000 - heads the creative coordination council of the Cultural Center “Union of Cities”, carrying out extensive cultural and educational work in cities and regions of Russia.
12/25/2000 - another premiere took place in the Rossiya concert hall - the brilliant opera show “Faces of Love”, broadcast live to the whole world. The three-hour musical performance, presented for the first time in the world by a leading opera singer, became an event of the last year of the outgoing century and evoked enthusiastic responses in Russia and abroad.
2002 - Lyubov Kazarnovskaya is at the center of active social activities, elected Chairman of the Commission for Cultural and Humanitarian Cooperation of Municipal Entities of the Russian Federation, and is Chairman of the Board of the Russian Musical Educational Society.
Lyubov Kazarnovskaya was awarded a diploma from the prestigious center in Cambridge (England) as one of the 2000 most outstanding musicians of the twentieth century.

The creative life of Lyubov Kazarnovskaya is a series of rapid and unstoppable victories, discoveries, achievements, in application, to which, in many respects, the epithet “first” is appropriate:
Grand Prix at the UNESCO Vocal Competition
Kazarnovskaya is the first Russian soprano invited to Salzburg by Herbert von Karajan.
The only Russian singer who performed Mozart's parts in the composer's homeland in Salzburg on his 200th anniversary.
The first and so far the only Russian singer to perform the most difficult role of Salome (“Salome” by Richard Strauss) on the largest opera stages in the world with great success. L. Kazarnovskaya is considered the best Salome of our days.
The first singer to record (on CD) all 103 Tchaikovsky romances.
With these discs and her numerous concerts in all music centers of the world, Lyubov Kazarnovskaya opens the musical creativity of Russian composers to the Western public.
The first opera singer of international scale to perform a show unprecedented in its range - opera, operetta, romance, chanson...
The first and only singer to perform two roles in one evening (in the operas “Manon Lescaut” by Puccini) in the play “Portrait of Manon” on the stage of the Bolshoi Theater of Russia.

Recently, Lyubov Kazarnovskaya, in addition to her international activities, has been devoting a lot of energy and time to the development of musical life in the Russian regions. Without a doubt, it is the most striking phenomenon in the vocal and musical life of Russia, and the press devoted to it is unprecedented in genre and volume.

Her repertoire includes more than 50 opera roles and a huge repertoire of chamber music. Her favorite roles are Tatiana, Violetta, Salome, Tosca, Manon Lescaut, Leonora (Force of Destiny), Amelia (Un ballo in Masquerade). When choosing a program for solo evenings, Kazarnovskaya avoids a scattered selection of even winning, attractive things, giving preference to unique cycles representing the work of different authors. The singer’s uniqueness, brightness of interpretation, subtle sense of style, individual approach to the embodiment of complex images in works of different eras make her performances genuine events in cultural life.

Numerous audio and video recordings highlight the enormous vocal capabilities, high style and greatest musical talent of this brilliant singer, who actively demonstrates to the whole world the true level of Russian culture.

The American company VAI (Video Artists International) has released a series of videotapes with the participation of the Russian diva, including “Great Singers of Russia 1901-1999” (two cassettes), “Gypsy Love” (video recording of Lyubov Kazarnovskaya’s concert in the Great Hall of the Moscow Conservatory).
The discography of Lyubov Kazarnovskaya includes recordings in the companies DGG, Philips, Naxos, and Melodiya.
Currently, Lyubov Kazarnovskaya is preparing new programs for solo concerts, new opera roles (Carmen, Isolde, Verdi's Lady Macbeth), planning numerous tours abroad and in Russia, and starring in films.

Married to Robert Roscik since 1989, their son Andrei was born in 1993.

The first and so far the only Russian singer to perform the role of Salome from Richard Strauss's opera on opera stages around the world. A singer who, at the very beginning of her career, received an invitation to Salzburg from Herbert von Karajan. The first opera diva to record all 103 of Tchaikovsky's romances on CD. The creative biography of Lyubov Kazarnovskaya is continuous discoveries and experiments.

Listened to Callas, remained Kazarnovskaya

Violetta, Salome, Tosca, Leonora, Amelia... Lyubov Kazarnovskaya bears more than fifty female names on stage. The first of them is Tatyana. It was in the role of Tatiana in the opera “Eugene Onegin” by Pyotr Ilyich Tchaikovsky that the singer made her debut, while still a student, on the stage of the Stanislavsky and Nemirovich-Danchenko Musical Theater.

A girl from an intelligent Moscow family (her father was a general, her mother was a philologist) sang since childhood and after school she went straight to the Gnesinka musical theater acting department, abandoning thoughts of a career as a philologist. She learned to understand the beauty of Russian classics from teacher Nadezhda Malysheva-Vinogradova, a student of Stanislavsky and accompanist Chaliapin. In 1982, Kazarnovskaya graduated from the Moscow Conservatory, and three years later she completed graduate school in the class of singer Elena Shumilova.

While still at the conservatory, the aspiring artist listened to the recordings of Maria Callas and developed one life rule for herself: “It is better to be the first Kazarnovskaya than the twenty-fifth Callas.” And she became the first.

“So, her name was Tatyana...”

The young singer completed her education, already performing on the stage of the Bolshoi Theater at the invitation of Yevgeny Svetlanov. The repertoire includes Tatiana, who has long become the singer’s calling card, in “Eugene Onegin”, Fevronia in “The Tale of the Invisible City of Kitezh” by Rimsky-Korsakov, Nedda in “Pagliacci” by Leoncavallo.

For three years, Kazarnovskaya was the leading soloist of the Mariinsky Theater, performing all the main roles for soprano that were only available in the repertoire of the St. Petersburg theater.

World recognition did not take long to arrive. In 1984, Lyubov Kazarnovskaya won the UNESCO Young Performers Competition in Bratislava, and the singer’s real foreign triumph came four years later as Tatyana, performed on the stage of London’s Covent Garden.

“Her voice is deep and seductively insinuating. The touching, beautifully executed scenes of Tatiana’s letter and her last meeting leave no doubt about the singer’s highest skill,” the New York Times wrote after her performance at the Metropolitan Opera.

Lyubov Kazarnovskaya. Photo: novosink.ru

Lyubov Kazarnovskaya with her husband. Photo: star-town.ru

Lyubov Kazarnovskaya. Photo: 7days.ru

The young Russian singer was invited to Salzburg by Herbert von Karajan. Already a star in her homeland, Kazarnovskaya performed Verdi’s Requiem at the summer Salzburg festival.

“The Russian diva is so radiant in the role of Salome...”

The foreign press wrote when Lyubov Kazarnovskaya performed the part from the opera of the same name by Richard Strauss - the first and so far the only Russian singer who performs this most difficult part on opera stages around the world. She performed it in such a way that even the composer’s grandson, after visiting the performance, said: “Probably, my grandfather had Kazarnovskaya in mind when he wrote this opera.” Lyubov Kazarnovskaya is called the best Salome of our days.

Performing brilliantly with classical works, the singer does not refuse avant-garde projects. She embodied the image of Salome in the modernist production of film director Atom Egoyan.

“Any true artist needs adventurism, since you are putting your professional status as an actress and singer on the line.”, - the opera diva is sure.

Non-children's repertoire

Lyubov Kazarnovskaya takes care of the only Children's Opera Theater in the world, which has existed since 2000 at the Children's Choir School in Dubna. “The children’s desire not only to sing, but to play their role fully and dramatically is captivating,” notes the singer.

The premieres of “Eugene Onegin”, “Iolanta” by Tchaikovsky, and “The Snow Maiden” by Rimsky-Korsakov took place. The performance "The Child and Magic" based on Ravel's opera was performed by the Children's Opera Theater in Moscow, the Moscow region, Tver and Kimry.

Manon & Manon and other experiments

“Portrait of Manon” on the stage of the Bolshoi Theater combined into one performance bright fragments of two operas at once - the Italian “Manon Lescaut” by Puccini and the French “Manon” by Massenet. Lyubov Kazarnovskaya sang two parts at once - for the Italian and the French. The performance became a large international project of the Lyubov Kazarnovskaya Foundation with the participation of performers from Russia, Italy, France, Mexico, Sweden, and Germany.