Charming Beginnings: Valeriia Savinskaia

Between 2003 and 2010, she attended the Zhukovsky Children’s School of Arts, where she studied piano with Prof. S. Korovkina. Simultaneously to this, she also took singing lessons from Prof. I. Pogibenko’s class. In 2013, she enrolled at the Academic Music College of the Moscow State Conservatory Tchaikovsky, where she studied singing with Prof. Anastasia Bakastova, until 2017. Since 2018, she has been studying in Vienna, Austria, at Musik und Kunst Privatuniversität der Stadt Wien: Gesang und Oper bei, under the guidance of Prof. Elena Filipova. At the age of 25, she can be proud of several significant honors, including the 3rd Prize at the Eurasian Music Games, Astana/Kazakhstan in 2017, the 1st Prize and the International Media Jury Prize at the 38th International Gabor Belvedere Singing Competition, Villach/Austria in 2019. Valeriia Savinskaia has a diverse repertoire: Giannetta from L’elisir d’amore by Donizetti, Pamina from Die Zauberflöte by Mozart, Dienerin, Stimme Angeboren, and Solostimmen from Die Frau Ohne Schatten by Strauss, Helena from Orest by Trojahn, Persinette from Persinette by Albin Fries, Irina from Tri Sestry by Peter Eotvos, Fiordiligi from Cosi Fan Tutte by Mozart, Woglinde from Rheingold by Wagner, Gran Sacerdotessa from Aida by Verdi, Magd from Elektra by Strauss, Das Echo der Rätselstimmung from Antikrist by Langgaard, Micaela from Carmen by Bizet, Blummenmädchen from Parsifal by Wagner, Desdemona from Otello by Verdi in the Marina Abramovic Show 7 death of Maria Callas and Mimi from La Bohème by Puccini.

Dear Valeriia, it’s always a pleasure to chat with young and promising opera singers. Thank you for accepting our invitation. You began your studies in Russia and continued them at Musik und Kunst Wien. What motivated you to leave Russia? Why did you choose a private university, and what differences have you noticed between the private and public education system? 

First, I want to say a huge thank you to OPERA Charm Magazine for your interest in me and my art.  I left Russia because I knew it would be professionally easier in Europe. Plus, I really love to travel, so it fits perfectly. About the university — I entered purposefully to a specific teacher, Elena Filipova, an excellent Bulgarian Soprano. I love MUK (Privat Universität der Stadt Wien), and I think it is an extraordinarily progressive institution with fantastic teachers. They are happy to share their knowledge with young musicians. I have always sincerely enjoyed studying there. 

It seems you have a special relationship with Wagner’s music. What challenges does his music bring? Which is the best strategy for approaching Richard Wagner’s music? 

I wouldn’t say I have a very «special» relationship with Wagner. I don’t consider myself a Wagner singer – and it’s also too early for me now. I think it’s more because I mostly live and work in German-speaking countries, and in such countries, it’s a sacred thing to sing Wagner. You always need to approach such music wisely. If you are offered to sing Wagner or Strauss, you always need to soberly assess your capabilities, the capabilities of your voice apparatus, and your technique. If you and your teacher think that this kind of music will suit you and you have enough experience to sing this – this is stunningly beautiful and interesting music that can give you a lot in terms of development.

As a young soprano, what are your dreams regarding the repertoire? 

Now I sing roles like Micaela, Pamina, Fiordiligi, Mimi, and Liu – a standard repertoire for lyrical soprano. I feel comfortable with these roles, which also delight me. I just adore it! Soon I would like to sing Violetta, Tatiana. And if you look entirely into the considerable future, then: Rusalka, Liza, Tosca, Aida, Elektra. There will be a suitable time for everything.

Read the entire interview here, in the 9th/2022 issue of OPERA Charm Magazine.

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