Ekaterina Semenchuk studied at the St. Petersburg Conservatory, Russia, where she was spotted early on as a tremendous talent. She made her debut in the United States with Prokofiev’s War and Peace at the Metropolitan Opera in a production conducted by Valery Gergiev, a maestro she has worked with often. She has performed at many of the world’s major opera companies and concert halls, including the Metropolitan Opera, San Francisco Opera, Paris Opéra, Los Angeles Opera, Carnegie Hall, Amsterdam Concertgebouw, and the festivals of Salzburg, Edinburgh, Ravinia, and Arena di Verona.
After a stellar turn as soloist in the recent Verdi Requiem at the Metropolitan Opera, Semanchuk continues at the MET in January and February of 2018. She then travels to Madrid to sing the role of Amneris in Aida, followed by roles at the Opéra Nacional de Paris, and Baden-Baden. In April she returns to her native Russia and her home stage of the Mariinsky Theatre in St. Petersburg to sing the role of Dalilah in Samson and Dalila.
An outstanding interpreter of 19-century dramatic mezzo-soprano repertory, her opera roles have included the pinnacle characters of the opera stage in works by Verdi, Tchaikovsky, Mascagni, and others. Semanchuk will bring these gripping, romantic characters to life with the Classical Tahoe Orchestra on August 4, 2018, singing arias from Verdi’s Il Trovatore, Donizetti’s La Favorita, and Saint Saens’ Samson et Dalila. On August 5, Semanchuk and the orchestra will present the ravishing and rarely heard French masterpiece of Ernest Chausson, Poème de l’amour et de la mer (Poem of love and the sea).
Following her appearance at the Classical Tahoe Festival, Semanchuk will travel to San Francisco to sing the role of Santuzza in Cavalleria Rusticana/Pagliacci at the San Francisco Opera. Long a favorite of the public and royals alike, in 2005 she was asked to sing at the wedding of HM the Prince of Wales to sing at his wedding to Camila Parker-Bowles.
“Ekaterina Semenchuk showed a gorgeous, plush voice throughout her range. There is taut power in her chest… letting her command every part of the role. [Her account of the “Lux aeterna was stunning: the voice that for so much of the performance had been a rich, viscous instrument was suddenly more liquid, flowing easily through the vocal line.”
– Eric Simpson, New York Classical Review
“Ekaterina Semenchuk is in such demand around the world for larger-than-life mezzo roles in opera that we don’t often get the chance to hear her as a recitalist. But when we do, it’s always a five-star event.”
– Michael Church, The Independent, UK