"Even an earthquake could not have dislodged the extraordinarily powerful Venera Gimadieva from her richly toned sonorities, expressive penetration and superb stagecraft. …the heart of this solid, enjoyable show remains the thrilling Venera Gimadieva."
"Extraordinary... With her captivating timbre, her flexible yet powerful voice, her strong stage presence, and her true physical beauty (which never hurts), she will be a star before long."
"Aix-en-Provence may have adored Natalie Dessay, but Limoges now venerates Venera Gimadieva... Neither Callas nor Sutherland could have done a better job."
Le Populaire du Centre
"A beguiling and utterly believable Violetta… Only Ermonela Jaho has come close in recent memory to Gimadieva’s spontaneous warmth, and she has a vocal ease and facility that’s all her own..."
"A soprano of huge presence, compelling to watch, with a voice of thrilling security and range, and a special quality to her quieter singing that makes you hang on every note."
Russian soprano Venera Gimadieva has quickly become one of the most sought-after lyric coloratura sopranos in Europe. Having studied at the St Petersburg Conservatoire and on the young artist programme at the Bolshoi Theatre, Moscow, she now performs regularly at prestigious opera houses and venues across Europe and the USA.
Gimadieva's signature roles include Violetta La traviata (the role in which she made her debuts at the Royal Opera House, Covent Garden and Glyndebourne Festival Opera, as well as her US debut with the LA Philharmonic Orchestra at the Hollywood Bowl); the title role of Lucia di Lammermoor (Semperoper Dresden, Teatro Real, Madrid and for her debut at the Bayerische Staatsoper) and The Queen of Shemakha The Golden Cockerel (La Monnaie, Brussels, Teatro Real, Madrid and for her US stage debut at Santa Fe Opera).
Engagements in the 2018-19 season include her debut at Washington National Opera (Violetta La traviata) and returns to the Deutsche Oper Berlin (Amina La sonnambula) and Semperoper Dresden (Violetta La traviata and Marguerite in a new production of Les Huguenots).
This biography is for information only and should not be reproduced.
The Golden Cockerel, La Monnaie (DVD, BelAir Classiques)
La Monnaie / December 2016 (released March 2018)
Among the performers, Venera Gimadieva shines as the Queen of Shemakha, seductively wrapping herself like a tendril around the chromatic lines of her Hymn to the Sun
Mark Pullinger, Gramophone Magazine, June 2018
Appropriately stunning is the Queen of Shemakha, Venera Gimadieva, a big hit in Glyndebourne and Covent Garden’s Traviatas, who has exactly the right luscious but steely tones, and radiates outrageous sensuality and serpentine menace
Michael Scott Rohan, BBC Music Magazine, July 2018
Title role, Lucia di Lammermoor
Bayerische Staatsoper, May 2018
Venera Gimadieva was a perfect Lucia to Flórez’ Edgardo. Her voice exuded excitement and anticipation, with a brilliant, phosphorescent top register perfectly suited to the young girl in love.
Laura Servidei, Bachtrack
The Queen of Shemakha, The Golden Cockerel
Santa Fe Opera, July 2017
Making the most distinguished company debut of the season was Russian soprano Venera Gimadieva. As the Tsaritsa of Shemakha, the magical seductress who convinces Tsar Dodon to marry her, she deployed her ample, beautiful voice in a velvety legato. The top notes, especially the high E way off the staff near the end of the second act, were precise and brilliant.
Charles T. Downey, The Classical Review
Venera Gimadieva sang the Queen of Shemakha with free coloratura, full sound, and a shimmering tone, particularly on her top notes. She danced and moved with graceful confidence, especially during her striptease (ingeniously costumed so that her dress could instantly become more and more revealing).
Ilana Walder-Biesanz, Bachtrack
Violetta in La traviata, cond. Yves Abel, dir. Richard Eyre
Royal Opera House, Covent Garden, January 2016
Her Covent Garden performance was acted and sung with rare intensity, making one eager to hear her in other major parts. The voice is clearly focussed, and her command of dynamics imparted variety and sparkle to the duets and solos of Acts 2 and 4. The lightly touched high notes in the Act 1 duet with Alfredo were uncommonly delicate and true, she dispatched the coloratura demands of ‘Sempre Libera’ without strain, and yet she also soared over the brass in ‘Amami, Alfredo’. These musical talents are enhanced by theatrical acumen. With a face signalling tragic resignation, she looked very beautiful in Bob Crowley’s costumes...
Russ McDonald, Opera
Even an earthquake could not have dislodged the extraordinarily powerful Venera Gimadieva from her richly toned sonorities, expressive penetration and superb stagecraft.
…the heart of this solid, enjoyable show remains the thrilling Venera Gimadieva.
Her vibrato and coloratura are excellent, and her voice constantly carries an air of lightness about it. She very much looks the part, and has a natural presence meaning that she never has to indulge in histrionics in order to portray the social butterfly. She conveys all of the requisite emotions sensitively and effectively.
Violetta, and I’ve been busting to tell you this, is the glorious Russian soprano Venera Gimadieva who sang the same role with such radiance at Glyndebourne a year or two back. Here on her Royal Opera debut she surpasses even that achievement with a voice that blends Rossinian warmth and late-Verdian power, rock-solid technique and perfect intonation, together with a riveting stage presence. Gimadieva is the most moving Violetta I can recall: she inhabits the heroine’s story arc with total commitment from her first-act set piece “È strano! È strano!” to her devastating death scene.
What’s On Stage
Anyone who had seen the Russian soprano Venera Gimadieva in the role of Violetta at Glyndebourne a couple of years ago will have known they were in for a treat. Her good looks, great acting and magnificently full voice make her perfect for the role and this time she was even better than ever.
…cut glass coloratura and superb intonation in ‘Sempre libera’ and wonderful ease at the top. However, Gimadieva also has the lyric soprano qualities to tackle Act II… There was initial vehemence in her response to Salsi’s bullish Germont, but she collapsed to deliver a moving ‘Dite alle giovine’ from the floor. In the final act, ‘Addio del passato’ was hauntingly fragile.
Title role of Donizetti’s Lucia di Lammermoor
Opéra de Limoges
Venera Gimadieva is beautiful, passionate and sensual in the title role, shining out amongst a cast of young talented and committed singers... the Russian singer seems to electrify her partners - both in moments of love and in violence. A great lyric soprano, her excellent technique and purity of tone allows her to move easily in the lower midrange. Her charm moves as much as it impresses alongside her virtuosic vocals right until the final climax
This young Russian soprano is a match for her two illustrious predecessors Anna Netrebko and Olga Peretyatk, with a flexible and powerful voice and a beautiful timbre that can do justice to the formidable vocal difficulties of a challenging role. Moreover, her performance is moving, expressive and compelling from start to finish. Discovered just a few years ago, this young leading lady clearly has a promising career ahead of her
Violetta La traviata, LA Philharmonic, cond. Diego Matheuz
Hollywood Bowl, August 2015
On Sunday she brought an opulence and vocal security to the consumptive Violetta as advertised… Gimadieva's dark, resonant yet capably agile soprano must be appreciable.
Los Angeles Times
DVD: Violetta La traviata, cond. Sir Mark Elder, dir. Tom Cairns
Glyndebourne Festival Opera, August 2015
Venera Gimadieva is a real find: attractive and a good actress with an agile voice absolutely even and appealing, of good size and capable of expressing grand emotion... But she gets both verses of 'Addio del passato', happily, and her pianissimos are lovely, well-judged, and always in tune. She is a big star at the Bolshoi.
Venera Gimadieva’s highly intelligent portrayal of Violetta suggests that happiness might yet be possible. Sumptuous of voice at every turn of this supremely challenging role, she looks wonderful... Violetta’s ‘Dite alla giovine’... offers further evidence of Gimadieva’s formidable vocal and dramatic talents
Juliette in Gounod Roméo et Juliette, cond. Manuel Lopez-Gomez, dir. Jean-Louis Pichon
Grand National Theater Lima, November 2014
Gimadieva captivated the theater right from the first scene, combining her beauty with the delicacy of her voice, which perfectly matched Florez’s in the four most harmonious and romantic duets of the opera, in which Romeo and Juliet declare their undying love for each other.
Latin American Herald Tribune
Violetta La traviata
Opéra de Rheims, May 2012
Venera Gimadieva’s Violetta is devastatingly beautiful, both to the ears and to the eyes. Her voice has a velvety richness, and her expressiveness and temperament are already very established for this young soprano from Russia, whose future looks highly promising.
Opera Ball, cond. Justin Brown
Badische Staatskapelle, May 2013
… soprano Venera Gimadieva infatuated audiences with Juliet’s aria Je veux vivre from Gounod's opera Romeo and Juliet. Considered the new voice of Russia… her performance was celebrated as a sensational success.
Violetta La traviata
Opéra de Limoges, April 2012
The production was made extraordinary by Venera Gimadieva’s Violetta. This very young singer, house artist at the Bolshoi since 2010, was a revelation. With her captivating timbre, her flexible yet powerful voice, her strong stage presence, and her true physical beauty (which never hurts), she will be a star before long … This production will be revived in Reims and in Rennes. It’s really worth the detour.
Opéra magazine n°74
Aix-en-Provence may have adored Natalie Dessay, but Limoges now venerates Venera Gimadieva... Neither Callas nor Sutherland could have done a better job. There are many who bewail in specialist music publications that there are no more true Violettas, but Venera Gimadieva proves them all wrong.
Le Populaire du Centre