Viktoriya VITA Koreneva, Mezzo-soprano & Composer


Voce di Meche

"Charlotte's aria "Je vous écris de ma petite chambre", from Massenet's Werther, was given a lovely performance by Viktoriya Koreneva, one which was notable for its excellent French but also for a convincing portrayal of the varying moods of a woman torn between duty and romantic longing she is trying to suppress." 

Voices of NY

"Viktoriya Koreneva, whose extraordinarily beautiful and gentle voice simply mesmerized the audience, then followed Klein. During an interview, one of the guests of the evening, opera singer Sophia Silagadze, noted that behind the visible easiness of the performance, there was a lot of hard work undertaken in preparation; in order to perform on such a level, one needed to practice consistently." Voices of NY

Standing Ovation at the Gala Festival of Pushkin Society in America

"Standing ovation at the Gala Festival of the historical Pushkin Society in America." Nataliya Medvedovskaya, Music Director

Winners Named in New Jersey Association of Verismo Opera's 28th Annual International Vocal Competition

The New Jersey Association of Verismo Opera announced the winners and the finalists selected in the New Jersey Association of Verismo Opera's 28th Annual International Vocal Competition...The finalists were: soprano Zhanna Alkhazova, baritone SeokJong Baek, soprano Megan Brunning, tenor Fangyong Du, soprano Magda Gartner, soprano Shana Grossman, mezzo-soprano Viktoriya Koreneva, soprano Nicole Levesque, soprano Yulan Piao, and bass-baritone Cody Quattlebaum. All finalists are given the opportunity to perform in Verismo Opera's fully staged productions. In the company's upcoming performance of AIDA, Zhanna Alkhazova and Viktoriya Koreneva will cover the roles of Aida and Amneris, respectively.

Lyra New York International Vocal Competition

Second prize was given to mezzo-soprano Viktoria Vita Koreneva, who gave a very committed performance of"Adieu forets" from Tchaikovsky's Joan of Arc, in Russian of course. 

Stage Door: Les Liaisons Dangereuses, Don Giovanni

Mozart was equally intrigued by the libertine sins of the rich, and one of his greatest operas, Don Giovanni, based on Don Juan, addresses the issues with comedy, melodrama and a dollop of the supernatural. Donna Anna (Roseanna Ackerley), Donna Elvira (Viktoriya Koreneva) and Zerlina (Emma Lavandier), combine excellent voices with spot-on performances. 

Mezzo-soprano Viktoriya Koreneva as High Priestess in The Olympic Flame by Panagiotis Karousos

Mezzo-soprano Viktoriya Koreneva did an amazing performance at Lincoln Center as Alcmene last April. Now she performed in a world premiere the role of High Priestess in a wonderful duet with bass Kofi Hayford as King Eurystheus. This is a rare duet for bass and mezzo, after the request of mezzo-soprano Viktoriya Koreneva, which does not exist in the operatic repertoire. The duet much liked from the audience and get cheer applause. Viktoriya Koreneva’s voice is deep and distinguish according to the Greek tragedy’s characters. In this production composer added to the opera a new duet King Hurystheus and High Priestess, especially for Viktoriya Koreneva and Kofi Hayford, in order to create a rare duet for bass and mezzo. The duet was well performed and especially received by the crowd.

Concert “Music Unites Us All”.

Russia born Mezzo Viktoriya Koreneva was the emotional heartthrob of the concert. Most notably in her sensitive performance of the composer’s aria of Richard Strauss’ “Ariadne auf Naxos” and the melancholy yet enlightening three songs by fellow Russian Sergei Rachmaninov which seemed to fit her like a glove. Koreneva's rich soothing vocal color mixed with her vulnerable heart on sleeve performances was enough to make the audience melt.

Bravery and beauty as music crosses nations, generations

Russian mezzo-soprano Viktoriya Koreneva relished the shifts from classical balance to comedy in her selections. She seized her opportunities with aplomb. She later let her hair down in selections from Rossini and Strauss. Clad in dashing trousers, she seemed to move effortlessly between comic and serious roles, femininity and masculinity, taking the challenges in her stride, and offering a thoughtful, balanced programme. She is a polished young artist, and both she and bass Kofi Hayford (Bass) displayed a warm stage presence and easy technique.

First Greek Opera at Lincoln Center

NEW YORK –  Ancient Greece’s tragedies inspired the later European inventors of Opera and on March 26 the descendants Sophocles witnessed “Olympic Flame,” the first Greek opera ever seen at Lincoln Center at the Bruno Walter Auditorium near the renowned Metropolitan Opera House.  The opera’s composer Panagiotis Karousos was inspired by Sophocles’ “Women of Trachis” or “Trachiniae,” the story of Heracles’ death and apotheosis. It is the second part of a trilogy which begins with the story of Prometheus giving humanity the gift of fire and concludes with the life Alexander the Great. Produced by the Hellenic American Center of the Arts (HACA) and presented by the Federation of Hellenic Societies of Greater New York, the event was of part of the Federation’s celebration of Greek Independence that culminates in New York’s Greek Parade. Soprano Stella Papatheodorou portrayed both Hyllos’ sister Makaria and Iole – Heracles’ new non-Olympic flame and mezzo Viktoriya Koreneva played Heracles’ mother Alkmene.