Маrina Shaguc biography:
Russian soprano, Marina Shaguch, has received a remarkable outpouring of audience and critical acclaim for concert and recital appearances throughout Europe, Asia and the United States. The most noteworthy elements of the performances of Miss Shaguch are the beauty of her voice, her technical vocal security, and her unique interpretative talent.
Current projects include Miss Shaguch's Canadian debut in a concert performance of Tchaikovsky's Iolanta at the Festival de Lanaudiere. She appeared in concerts of Szymanowski's Stabat Mater with the Milwaukee Symphony under Andreas Delfs. In Europe, Miss Shaguch recently sang Tatiana in Eugene Onegin at the Concertgebouw, Amsterdam as well as Shostakovich's 14th Symphony, followed by his song cycle From Jewish Folk Poetry in Metz, France and the Britten War Requiem under Vladimir Ashkenazy in Reykjavik. Later this season, Miss Shaguch will tour Europe with the Flanders Orchestra singing Strauss' Four Last Songs and will record the soprano solo in Shostakovich's 14th Symphony for the Capriccio label. Future projects include this same piece with the Orchestre Philharmonique de Paris, a concert of Tchaikovsky, Verdi and Rimsky-Korsakov Opera Arias for TROS Radio and concerts of Rachmaninov's Francesca da Rimini in Sao Paulo.
In 2006 Marina Shaguch performed Verdi’s Requem with Hueston Symphony and Hans Graff as conductor and Shostakovich’s 14th Symphony with David Geringas and Dresdner Symphony Orchestra. In Swedish city Dallhalla she performed a gala concert with tenor Badri Maisuradze and Bolshoi Theatre Orchestra under direction of Alexander Vedernikov. In Washington Marina Shaguch sang Britten’s “War Requem” with the Washington Cathedral Choir. In New York Every Fisher Hall Ms. Shaguch performed in Dargomyzsky opera “A Stone Guest”. There also was a chamber performance of Marina Shaguch and Storioni Trio in Amsterdam’s Concertgebau with Shostakovich’s “Seven poems of Alexander Block”.
In 2005 Marina Shuguch sang with Hague Resident Orchestra and Alexander Lazarev many arias and romances of Tchaiovsky and Rachmaninov. In 2005 in Miami Ms. Shuguch performed with Miami Symphony a piece of Dmitri Shostakovich “Seven poems of Alexander Block”, after that she sang Rachmaninov’s “Franchesca Da Rimini” with Berlin Symphony and Mahler’s Eight Symphony with Kirov Opera Symphony under direction of Maestro Valeri Gergiev. In the same year Marina Shaguch recorded in Capriccio label Shostakovich’s 14th Symphony Koln Symphony Orchestra unde direction of Dmitri Kitaenko.
In 2004 Ms. Shaguch succesfully performed in Rieikiavik (Iceland) a “War Requem” with the Iceland National Symphony Orchestra under direction of Vladimir Askenazi. With Antwerpen Symponic Orchestra in 2004 she perofromed “Last Four Songs” of Richard Strauss. In Brasilian San-Paulo Ms. Shaguch sang Rachmaninov’s “Franchesca Da Rimini” and Verdi’s “Aida” in Tallinn. The overseas tours of Ms. Shaguch include “Ariadne on Naxos” in Montreal Opera Theatre. The highlight of the 2004 season was Mahler’s Second Symphony with Netherlands Philharmonic in Concergebau.
In 2003 Ms. Shaguch sang “Ariadne auf Naxos” in Gratz Opera Theatre (Austria). In the same year she took a big European tour with Vladimir Askenazy and European Youth Orchestra perfroming “War Requem” of Benjamen Britten. In Montreal in 2003 she performed Tatiana in Tchaikovsky’s “Eugeny Onegin” with Artistic Director of Bolshoi Theatre Alexander Vedernikov and Montreal Symphony Orchestra. The same year Miss Shaguch performed Beethoven’s Nine Symphony at the closing cocnert of thr Belgrade International Music Festival.
Recently, the Russian soprano appeared in a concert presentation of Aleko with TROS Radio in the Netherlands, the Verdi Requiem both with the Royal Scottish Orchestra and with the Minnesota Orchestra, as well as the title-role in Iolanta at the Concertgebouw. Apart from her performances with her home company, the Kirov Opera, Miss Shaguch returned to the Rotterdam Symphony with which she performed the Three Fragments from Wozzeck by Berg in November 2000. Marina Shaguch also returned to New York with Britten's War Requiem with the Cincinnati Symphony under Maestro Conlon for her Carnegie Hall debut. January 2002 found her singing Rachmaninov's The Bells with the Philharmonia Orchestra and Vladimir Ashkenazy at Avery Fisher Hall immediately followed by her debut with the New World Symphony under Michael Tilson Thomas in Shostakovich's From Jewish Folk Poetry immediately before returning to The Bells for concerts and a recording of this piece in Prague with Maestro Ashkenazy. She finished the season with concerts of Tatiana's Letter Scene from Eugene Onegin with the Atlanta Symphony and Donald Runnicles.
Highlights of her 1998-99 season included Miss Shaguch's debut as Verdi's Elisabetta in Don Carlo with Maestro Gergiev at the Kirov and her return to London in the fall for Kashchei the Immortal and in the spring for the Rachmaninov Festival for The Bells and Francesca da Rimini as well as a joint recital with Sergei Leiferkus at the Queen Elizabeth Hall. Miss Shaguch also sang at Buckingham Palace in April in a Command Performance for HRH Prince Charles in Act I of Verdi's Otello, in which she partnered Placido Domingo and Valery Gergiev. She also made her Japanese debut with the Tokyo Symphony in a concert devoted to Verdi.
In 1997-1998 Miss Shaguch sang and recorded Rimsky-Korsakov's The Tsar's Bride and Kashchei the Immortal with Maestro Gergiev for Philips. She returned to New York for the Opening Gala of the Kirov Opera Festival at the Metropolitan Opera and the Seven Poems by Alexander Blok by Shostakovich with the Beaux Arts Trio at the Metropolitan Museum. Miss Shaguch's concert season included her much-anticipated debut with the Houston Symphony Orchestra in Gurrelieder under Maestro Christoph Eschenbach, performances of Mahler's Second Symphony in Madrid (in November) and in Israel (in January), a concert performance of Otello in Utrecht followed by the Verdi Requiem in Palma de Mallorca (all under the direction of Valery Gergiev). Miss Shaguch also sang Sadko as part of the Kirov Opera's tour at Expo '98 in Lisbon, Portugal. In the Summer, she was part of the White Nights Festival and returned to the Mikkeli Festival where she sang the Four Last Songs by Richard Strauss.
Miss Shaguch began the 1995/96 season with performances of Shostakovich's Jewish Folk Poetry and Fleischmann's Rothschild's Violin with the Rotterdam Philharmonic, where performances were recorded for release on the BMG label. After more performances at the Kirov Opera, she toured Europe singing the Dvorak Stabat Mater under the direction of Helmuth Rilling; and the Verdi Requiem with the Leipzig Orchestra. During June of 1995, Miss Shaguch sang the Dvorak Stabat Mater with Helmuth Rilling at the Oregon Bach Festival and recorded the work for the Hanssler label. In January of 1996, Miss Shaguch performed again with Maestro Vladimir Spivakov singing Schubert's Salve Regina in both Israel and Spain. She made her New York Philharmonic debut in Shostakovich's Jewish Folk Poetry under the direction of Maestro Valery Gergiev. She completed the season in America debuting with the San Francisco Symphony under the direction of Michael Tilson Thomas, singing performances of Mahler's Das Klagende Lied, which were released by BMG. The following season, Miss Shaguch triumphed in the role of Desdemona in Verdi's Otello at the Mikkeli Festival in Finland where she sang with the Kirov Opera and Maestro Gergiev. In January, she recorded an album of Tchaikovsky rarities with Neeme Jarvi for BMG/Conifer in London. In April she made her Metropolitan Opera debut as Tatyana in Eugene Onegin and went on to sing Tove in Schonberg's Gurrelieder with Ben Heppner and the Minnesota Orchestra under the baton of Eiji Oue. She was part of the Kirov Opera tour of Europe in the Summer singing various roles: the title-role in Tchaikovsky's Iolanta at the St Denis Festival near Paris, excerpts from Lohengrin in a Wagner Gala at the Ravello Festival and the soprano solo in Shostakovitch's From Jewish Folk Poetry in London.
Born in Krasnodar in the former U.S.S.R., Marina Shaguch is a graduate of the Rimsky-Korsakov Conservatory in St. Petersburg, Russia where she studied under Tamara Novichenko, one of Russia's most famous teachers. While still a student at the conservatory, she was awarded a gold medal in Russia's most prestigious national competition, The Glinka Competition. Shortly thereafter, Miss Shaguch became the silver-medalist of the famed International Tchaikovsky Competition of 1990, and was then selected by the Russian Ministry of Culture to represent the Soviet Union as its most promising young vocal artist in America's Rosa Ponselle International Competition For The Vocal Arts of 1992, where she won the Gold Medallion Award. It was under the auspices of this award that Marina Shaguch was presented in a New York City, Alice Tully Hall debut in March of 1994.
Specializing in the Russian, Italian, French, and German concert and operatic repertories, Shaguch's operatic roles with the Kirov (currently known as the Mariinski Theatre) include the roles of Marfa in the Tsar's Bride; Tatiana in Eugene Onegin; Oksana in The Night Before Christmas; Marguerite in Faust; Parassia in The Fair of Sorochintsy; Volkhova in Sadko, Lyudmila in Russlan and Lyudmila and Fevronyia in The Legend of the Invisible City of Kitezh.
Marina Shaguch has recorded for the Philips, BMG, Conifer, Chandos, Octavia, Supraphon and Hanssler labels.
Press Acclaim for... Marina Shaguch
As Iolanta in Iolanta, Festival de Lanaudiere, Canada, July 2002:
"For the title-role, Lanaudiere used a Russian soprano, Marina Shaguch, a member of the St Petersburg Kirov. With her generous voice that is as moving as it is powerful, this heiress to the great Slavic tradition created the character without any staging. Her eyes voluntarily staring away, her arms stretched out, Iolanta came to life before our eyes. Marina Shaguch was the revelation of the evening and Lanaudiere must bring her back to us."
Claude Gingras, La Presse, July 28, 2002
As Tatyana in the Letter Scene from Eugene Onegin, Atlanta Symphony, Atlanta, May 2002:
"Shaguch has a voice to the manner born --- pure, focused, with a caramel tone at the low end and a bright, almost Italianate "ping" at her top."
Pierre Ruhe, Atlanta Journal Constitution, May 4, 2002
As the Soprano Solo in Rachmaninov's The Bells, Philharmonia Orchestra, New York, January 2002:
"Working with three fine soloists (the soprano Marina Shaguch, the tenor Ilya Levinsky and the bass Sergei Koptchak) Mr. Ashkenazy gave a radiant performance of a striking work, which Rachmaninov considered among his best."
Anthony Tommasini, The New York Times, January 8, 2002
As the Soprano Solo in Britten's War Requiem, Cincinnati Symphony, Cincinnati and Carnegie Hall, October 2001:
"The soloists were excellent. Soprano Marina Shaguch, seated with the choir as Britten instructed, has a powerful voice that cuts through choral and orchestral fabric, soaring with passion."
Dan Davis, Andante.com, October 2001
"The three soloists proved ideal. Soprano Marina Shaguch projected an arresting voice that soared powerfully. […] One of many stunning moments came in the soprano's Lacrimosa."
Janelle Gelfand, Cincinnati Enquirer, October 6, 2001
As the Soprano Solo in Verdi's Requiem, Minnesota Orchestra, Minneapolis, May 2000:
"Russian Soprano Marina Shaguch sang the 'Libera Me' with wonderful dignity and intensity of feeling, and she hit the final high B-flat square on pitch."
Michael Anthony, Star Tribune, May 26, 2000
As Marfa in Rimsky-Korsakov's The Tsar's Bride, Philips Recording:
"Marina Shaguch's girlish, innocent-timbred soprano is a natural for Marfa, and her rendition of the mad scene would melt the flintiest heart."
Paul Thomason, Opera News, March 2000
"As the ill-fated Bride, Marina Shaguch is touching in both of her arias, and manages the wide compass of the first one ("It was in Novgorod") impressively. […] Comparing these principals with the Bolshoi counterparts in the Angel/Melodya set, Shaguch is slightly preferred over the great Vishnevskaya."
George Jellinek, Fanfare Magazine, March-April 2000
As the Soprano Solo in Shostakovich's Alexander Blok Poems with the Beaux Arts Trio, Metropolitan Museum, NYC, May 1998:
"Miss Shaguch sang these dark songs in her wide and resplendent voice."
Bernard Holland, The New York Times, May 26, 1998
As the Soprano Solo in Shostakovich's From Jewish Folk Poetry, London Proms, August 1997:
"[Larissa Diadkova's] coppery contralto was matched by Marina Shaguch's perfectly-centred soprano."
John Allison, The Times, August 14, 1997
As Tove in Schoenberg's Gurrelieder, Minnesota Orchestra, Minneapolis, Minneapolis, May 1997:
"The Russian soprano Marina Shaguch handled Tove's passionate role with grace, matching Heppner tone for tone. Where his voice is a force of nature, hers sounds more crafted by natural musicianship and intelligence."
Michael Fleming, St Paul Pioneer Press, May 8, 1997
"Marina Shaguch turned in some lovely singing, including a right-on-the-mark high B at the end of her fourth song."
Michael Anthony, Star Tribune, May 8, 1997
Rimsky - Korsakov
Marfa in «The Tsar's Bride"
Oksana in «The Night Before Christmas"
Princess iп «Kaschai The Immortal"
Fevronyia in «The Legend Of The Invisible City Of Kitezh"
Volkhova in «Sadko"
Lyudmila in “Ruslan and Lyudmila"
Antonida in «Life For The Tsar"
Tatiana in «Eugene Onegin"
Iolanta in «Iolanta"
Maria in «Mazeppa"
Oksana in «Cherevichki"
Parassia in «The Fair Оf Sorochintsy"
Zemphira in «Aleko"
Francesca in «Francesca da Rimini"
Countess in «Marriage of Figaro"
Donna Аnnа in «Don Giovanni"
Leonora in “Il Trovattore"
Elizabeth in «Don Carlos"
Desdemona in «Otello"
Leonora in «La Forza Del Destino"
Mimi in «La Boheme"
Liu in «Turandot"
Cio Cio San in «Madam Butterfly"
Elsa in «Lohengrin"
Micaela in «Carmen"
ORCHESTRAL & ORATORIAL REPERTOIRE:
Shubert, Ave Maria
Bach-Gunout, Ave Maria
Kaccini, Ave Maria
Dvorak, Stabat Mater
Pergolesi, Stabat Mater
Berg, Drei Bruchstuche aus der Oper "Wozzeck"
Brahms, German Requiem
Mahler, Das Klagende Lied
Mahler, 2nd Symphony
Mahler, 4th Symphony
Mahler, 8th Symphony (soprano II)
Beethoven, 9th Symphony
Britten, War Requiem
Rachmaninov, The Bells
Schubert, Salve Regina
Shostakovich, Jewish Folk Poetry
Shostakovich, Seven poems By A.Block
Shostakovich, 14th Symphony
Mussorgsky, The Nursery
R.Strauss, Four Last Songs
The Tchaikovsky Experience - BMG Conifer Mahler,
Das Klagende Lied - BMG Conifer Shostakovich,
Jewish Folk Poetry - BMG Dvorak, Stabat Mater - Hanssler Classic
"The Tsar's Bride" - Philips Classics
"Kaschai The Immortal" - Philips Classics
SANG WITH THEFOLLOWING RENOWNED SINGERS
COLLABORATION WITH WORLD-RENOWNED CONDUCTORS
Michael Tilson Thomas
N 2. “Vostochnyj Romans” (“Oriental Romans”)
N 4. “Na kholmakh Gruziji” (“Оп the hills of Georgia”)
N 3. Na nivv zhioltvie niskhodit tishina (“The silence is falling on the yellow field”)
N 3. О chiom v tishi nochei (“About what you dreaming during silent nights”)
N 3. “Redejet oblakov”
N 2. “Ne veter, veia s vysoty” (“It is not the wind flowing from the sky”)
N 3. “Cvetok zasokhshij” (“The dried flower”)
“Where art thou, little star”
“Теll me Why”
“What аге Words of Love to You”
“If I Could Only Meet With You”
Vocal Cycle "Nursery”
N 4. “Ne poi. krasavica!” (Do not sing, the beauty, to me)
N 6. “Davno-l, moj drug” (How long, my friend)
N 4. “Poliubila ia па pechal' svoiu” (I fall in love with my sadness)
N 5. “Son” (Night draem)
N 1. “Ja zhdu tebia” (Iexpecting you)
N 11. “Vesenniie vody” (Spring Streams)
N 4. “Oni otvechali” (They answered)
N 5. “Siren” (Lilacs)
N 7. “Zdes' khorosho” (Here is wonderful)
N 9. “Melodiia” (Melody)
по. 12. “Kak mnе Bolno” (How much it hurts)
N 10. “U moiego оknа” (Behind my Window)
N12. Noch' pechalna (The night is sad)
N 7. “Ne mozhet byt'!” (It's impossible!)
N13. “Dissonans” (Dissonance)
N14. “Vokaliz” (а song without words: Vocalise)
N 1. “Noch'iu v sadu u menia” (In the night in mу garden)
N 2. “К nei” (To Her)
N 3. “Margaritki” (Daisies)
N 4. “Кrysolov” (The Rat Cathcer)
N 5. “Son” (Night Dream)
N 6. “Au” (Hey)
Songs (alphabetic order)
“Akh. kogda b ia prezhde znala” (If I know it before)
“Ja ponmiu chudnoie mgnoven'ie” (I remember the
“Ja zdes', Inezilia” (I’m here Inezilia)
”K nei” (To her)
“Kak sladko s toboiu mne byt”(Ah, the sweetness of being beside you)
“Liubliu tebia, milaia roza” (I love you, sweet rose)
“Ne govori, chto serdcu bolno” (Do not tell that the heart is painful)
“Ne poi, krasavica, pri nme” (Do not sing, mу beauty, to mе)
“Pesn' Margarity” (Margarita’s song)
“Skazhi, zachem” (Tell me why)
“Svadebnaia pesnia” or "Sevemaja zvezda" (Wedding song or Northern star)
“V krovi gorit ogon' zhelan'ia” (The fire of desire is blowing in my blood)
“О deva chudпaja тoja, tvojej ljubov'ju schast/iv ja”: (Bolero) – (Or my sweet lady, I’m happy with your love)
“K citre” (Allа cetra)
“Why?” (Otchevo?) (D тajor)
“None but the lonely heart” [Net, to1'ko tot, kto zna1] (D flat тajor)
“To Forget to Soon” [Zabit' tak skoro] (F тajor - F тiпor)
“Why?” [Zachem?] (D тiпor)
“It was in the early spring” (То bi1o ranneyu vesnoy) (E flat тajor)
“Amid the din of the Bаll” [Sred' shumnogo ba1a] (В тiпor)
“Does the day reign?” [Den' li tsarit] (Е тajor)
“Was I not а little blade оf grass in the fie1d? [Уа li v pol da ne travuskoi byla)
“Lullaby in а storm”(K1ibelnaya pesn' v buryu] (F тiпor)
“Теll mе, what in the shade оf the branches?” [Skazhi, о chem v teni vetvei)
“I’ll tell you nothing” [Уа tebe nichego ne skazhu] (Е тajor)
SIX ROMANCES, oр. 73
1. “We sat together” [Mi side1i s toboy] (Е тajor).
2. “Night” [Noch'] (F тiпor).
3. “In this moonlight” [У etu lynnuyu noch'] (A flat тajor).
4. “Тhе sun has set” [Zakatilos' solntse] (Е тajor).
5. Amid sombre days [Sred' mrachnikh dney] (Aflat тajc
6. “Again, as before, alone” [Snova, kak prezhde] (А тiпor)