Svetlana Aksenova has been acclaimed internationally for her performances as Lisa in a new production of The Queen of Spades at the Dutch National Opera, directed by Stefan Herheim and conducted by Mariss Jansons, the title role in Rusalka at the Paris Opera, Cio-Cio-San in Madama Butterfly at the Zürich Opera, Deutsche Oper Berlin, Norwegian National Opera and Royal Swedish Opera in Stockholm, and Fevroniya in Dmitry Cherniakov’s production of Rimsky Korsakov’s The Invisible City of Kitezh, first at the Dutch National Opera and then for her debut at the Gran Teatre del Liceu in Barcelona. Aksenova will begin the 2019/20 season with her debut at the Opéra Royal de Wallonie in Liège as Cio-Cio-San in Madama Butterfy, after which she will return to the Norwegian National Opera in Oslo as Tatyana in Eugene Onegin. She will also appear as Tatyana at the Palm Beach Opera in Florida and sing the title role in Aida for her debut at the Staatsoper Hannover.
In the 2018/19 season, Aksenova made debuts as Elisabeth in Tannhäuser at the Dutch National Opera, as Tsaritsa Militrisa in The Tale of Tsar Saltan for her debut at the Théâtre Royal de la Monnaie in Brussels, and as Aida with Opera Naples in Florida. She also returned to the Norwegian National Opera as Lisa in The Queen of Spades, appeared as Desdemona in Otello in Pamplona, Spain, and sang Tatyana at the Vilnius City Opera in Lithuania.
Aksenova made her North American debut in the autumn of 2016 as Tatyana in Eugene Onegin with the Dallas Opera and her South American debut in the same role at the Teatro Municipal in Sao Paolo, Brazil. In the summer of 2016, Aksenova made her debut with the Rome Opera as Cio-Cio-San, the same role with which she made her debuts at both the Bavarian State Opera in Munich and Berlin State Opera the following year. In early 2017, she debuted at the Hamburg State Opera as Desdemona in Otello. She returned to the Norwegian National Opera in the summer of 2017 as the title role in a new production of Tosca, directed by Calixto Beito. Aksenova began the 2017/18 season reprising the role of Tosca in Stuttgart, after which she sang Cio-Cio-San in a new production of Madama Butterfly for her debut at the Zürich Opera, appeared for the first time at the Semperoper Dresden as Desdemona, and debuted in Vancouver Opera as Tatyana in Eugene Onegin.
Born in St. Petersburg, Aksenova pursued her vocal studies at the renowned Rimsky Korsakov Conservatory, where, while still a student, she came to critical attention for her performance as the title role in Tchaikovsky’s Iolanta. Aksenova was also privileged to participate in master classes with legendary soprano Renato Scotto. She was invited to join the ensemble of the Basel Opera, where over several seasons she developed her repertoire to include such roles as Desdemona, Lisa, Rusalka, Cio-Cio-San, Mimi in La Boheme and Blanche in Dialogues des Carmelites. Aksenova also starred in the title role of Puccini’s Suor Angelica in Dortmund, staged by Cristine Mielitz. Her international debuts followed in rapid succession. Other roles in her operatic repertoire include Amelia in Simon Boccanegra, the title role in Luisa Miller, Marguerite in Faust, Margherita and Elena in Mefistofele, and the title role in Cilea’s Adriana Lecouvreur.
Svetlana Aksenova also has a vast concert repertoire, including Vivaldi’s Gloria, Pergolesi’s Stabat Mater and Beethoven´s Mass in C Major. She has also sung Berlioz’ Messe Solennelle, Bizet´s Te Deum, Rossini’s Petite Messe Solennelle and Stabat Mater, Shostakovich and Dvorak´s Stabat Mater, and Mahler´s Fourth Symphony. In 2015, she made her debut with the Grand Theatre in Geneva in concerts of Verdi’s Requiem.
Projects in this current season include the title role in "Zazà" at Theater an der Wien, "Tosca" and "Der ferne Klang" in Prague and her role debut as Asteria in Boito's "Nerone" at Bregenzer Festspiele
Zazà, Thater an der Wien (16.09.2020 - 27.09.2020)
In dieser Atmosphäre liefert neben zahlreichen Stammgästen vor allen Svetlana Aksenova ein fulminantes Hausdebüt ab. Mit ihrem dunkel grundierten Sopran macht sie ihre Zaza zu einem differenzierten Charakter zwischen Kindsfrau und dramatischer Diva.Neues Volksblatt, Sept. 17, 2020