Reviews & Press
ROYAL OPERA HOUSE
The Young Artist Week
“… but the temperature rose only with the appearance of the Ukrainian mezzo-soprano Kseniia Nikolaieva. Blessed with an imposingly large and fruitily resonant voice that reminded me of those awesome Russian contraltos of the old school such as Irina Arkhipova and Elena Obraztsova, she flung herself into songs by Rachmaninov and Tchaikovsky (including the chestnut None but the Lonely Heart) to the manner born.”
- The Telegraph
TEATRO DI SAN CARLO
La Gioconda
La Cieca
“In the role of La Cieca, Ukrainian contralto Kseniia Nikolaieva was superb. She brought an earthy and dark tone to the role showcasing the brooding quality of the character. Nikolaieva displayed a gorgeous vocal roundness in “Voce di Donna i d’angelo,” delivering smooth lines. It was one of the most moving moments of the evening as the voice rang with authority and nostalgia into the auditorium. Her opening song in the third scene of the opera “Tu canti agli uomini” was also quite beautiful and on the repeat, when she sang with Netrebko, the two voices gorgeously blended, the soprano’s slightly sweeter timbre contrasting with Nikolaieva’s darker tone. The final phrases of the first act were also splendidly sung between the two. Both voices rang nicely and showcased a spectacular comradery.”
- Opera wire
ROYAL OPERA HOUSE
The Jette Parker Young Artists at 20
“The heartbreaking third act of Madama Butterfly under Jette Parker Michael Papadopoulos brought with it the finest of the Jette Palker singers on display: the force of nature that is Kseniia Nikolaeva, who performed previously as Giovanna in Pappano’s superb Rigoletto in February this year. Takingteh role of Suzuki here, her fine, strong yet rounded
- Classical Explorer
TEATRO DI SAN CARLO
La Gioconda
La Cieca
Brava e con gran dominio delle note al grave (ottima in “Voce di donna”) il mezzosoprano Kseniia Nikolaieva nei panni contraltili di una Cieca dolente e assai drammatica, persino inquietante a tratti, come nell’apparizione finale
- Connessi all’Opera
TEATRO DI SAN CARLO
La Gioconda
La Cieca
La mezzo-soprano Kseniia Nikolaieva, pour sa part, est une impressionnante Cieca. Si la voix n’est pas loin de caractériser une tessiture de contralto, la façon dont elle sait l’adoucir et faire appel à des aigus bien clairs, rend son grand air, « Voce di donna o d’angelo » où elle donne son rosaire à Laura, extrêmement émouvant.
- Opera online
TEATRO DI SAN CARLO
La Gioconda
La Cieca
Kseniia Nikolaieva, con un trucco efficace ma tanto eccessivo da essere quasi horror, è stata una Cieca di grande rilievo con un velluto contraltile di tutto rispetto, dai toni caldi e screziati, di naturale espressività.
- Operaclick
TEATRO DI SAN CARLO
La Gioconda
La Cieca
Kseniia Nikolaieva's Cieca was another nice surprise, vocally complete but also scenically effective, first as Gioconda's fragile mother, then as a sinister apparition.
- Bachtrack
TEATRO DI SAN CARLO
La Gioconda
La Cieca
Timbro e volume lodevoli per Kseniia Nikolaieva, una Cieca, cui la regia affida un’apparizione da fantasma nel finale
- CorriereTv
ROYAL OPERA HOUSE
The Young Artist Week
“… None more so than from the singer new to most of us, Ukrainian mezzo/contralto Kseniia Nikolaieva. Hers is a big voice unleashed with enough power to tell us that with careful handling she will undoubtedly go where her compatriots Olga Borodina and Ekaterina Semenchuk have already trod, in roles with very specific voice-type requirements like Verdi’s Azucena in Il trovatore. She got to launch in her native language, feeling the pain of Rachmaninov and Tchaikovsky; you won’t have heard “None but the lonely heart” ever delivered more operatically, but at that pitch the cut of the chest voice on the second note was thrilling.”
- The Arts desk
ROYAL OPERA HOUSE
Madama Butterfly
Suzuki
“ The ever-faithful, ever attendant maid Suzuki was performed on this occasion by Ukrainian mezzo-soprano Kseniia Nikolaieva, who joined the Royal Opera’s Jette Parker Young Artists Programme at the start of the 2020-21 Season. In this, one of her first major roles, she shows much promise, singing with real beauty and conviction. Her ‘”Il cannone del porto!” duet with her Mistress was sublime, allowing her to show off her gorgeous, dark resonance. Her devotion to Cio-Cio-San and her angst at her Mistresses’ refusal to accept the truth of her situation was utterly convincing and, in turn, heart rending.”
- Opera wire
ROYAL OPERA HOUSE
Summer Performance JPYP
Princess Eboli
- “Seen and Heard International” by Jim Pritchard
“… Nikolaieva’s ‘Veil Song’ gave evidence that she has a sultry sound of incredible potential…”
ROYAL OPERA HOUSE
Concert for Ukraine
“Nikolaieva, a rich-toned mezzo who brought warmth to everything she sang, shone in a heartbreaking lullaby by Yevhen Stankovych and an unaccompanied lament by Leopold Yaschenko.”
- The Telegraph
ROYAL OPERA HOUSE
Flying Dutchman
Mary
Strid was complemented by the fine, lush mezzo of Ukrainian singer Kseniia Nikolaieva as Mary (her name is sometimes rendered as 'Kseniia' thanks to the delights of transliteration). An ex-Jette Parker artist, her velvety voice has previously impressed as Giovanna in Rigoletto in 2022 at this house; her Suzuki in Butterfly in the 2022 Jette Parker performance is seared into the memory. She was no less transfixing here. It is only a matter of time that she moves from making her mark in subsidiary roles to taking on those major roles; it would be fascinating to hear her Amneris in Aida at Oper im Steinbruch later this year.
- Opera today
ROYAL OPERA HOUSE
Flying Dutchman
Mary
Kseniia Nikolaieva's voice is sumptuous, and she is perhaps the first contralto-like Mary I have heard whilst she portrayed a suitably fussy, maternal and sympathetic companion to Senta.
- Seen and heard
ROYAL OPERA HOUSE
Flying Dutchman
Mary
Kseniia Nikolaieva reveals immense presence and a sumptuous mezzo-soprano as Senta's nurse Mary.
- Opera Online
ROYAL OPERA HOUSE
Flying Dutchman
Mary
The secondary roles of Daland's Steersman and Senta's sewing-room boss Mary give prominence to two highly promising rising artists: tenor Miles Mykkanen and mezzo Kseniia Nikolaieva, respectively
- The Stage, George Hall
ROYAL OPERA HOUSE
Flying Dutchman
Mary
Ksenia Nikolaieva's Mary was vocally full and rounded
- London Unattached
ROYAL OPERA HOUSE
Rigoletto
Giovanna
“… With even the smaller roles impressing Giovanna only gets a few notes to sing, but Kseniia Nikolaieva made the most of them.”
- Bachtrack
ROYAL OPERA HOUSE
La Traviata
Annina
“…She’s alone with her maid, Annina, played with great emotional maturity and vocal skill by Kseniia Nikolaieva, a Ukrainian singer who is currently a Jette Parker artist at the Royal Opera House.”
- Lonndon Unattached
FESTPIELHAUS BADEN-BADEN
Die Frau Ohne Schatten
Stimmen fon Oben
“… und Kseniia Nikolaieva als Stimme von oben trugen Entscheidendes zum exquisiten Klangkolorit der Aufführung bei..."
- Der Opern Freund
ROYAL OPERA HOUSE
The Magic Flute
Third Lady
“… While, of the three ladies, it was Kseniia Nikolaieva’s plummy Third Lady that made the strongest impression by some way.”
- Seen and HeardInternational
ROYAL OPERA HOUSE
Madama Butterfly
Suzuki
“ Kseniia Nikolaieva asserts her deeply rich and sumptuous mezzo-soprano to excellent effect as Suzuki”
- Opera online
ROYAL OPERA HOUSE
Flying Dutchman
Mary
"Kseniia Nikolaieva's voice is sumptuous, and she is perhaps the first contralto-like Mary I have heard whilst she portrayed a suitably fussy, maternal and sympathetic companion to Senta."
- Opera today
ROYAL OPERA HOUSE
Flying Dutchman
Mary
"Kseniia Nikolaieva reveals immense presence and a sumptuous mezzo-soprano as Senta's nurse Mary."
- Opera Online