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Stefania DovhanPersonal website of soprano Stefania Dovhan

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Reviews

Faust (Lyric Opera Baltimore)

“Stefania Dovhan enjoyed a success as Marguerite. Her tone had radiance and ease of projection… She made “Ah! je ris!” seem like a truly girlish impulse and sang it with delightful vocal sparkle. Dohvan subsequently conveyed the inner torment of the fallen Marguerite just as convincingly, her voice taking on an affecting intensity.” (OPERA NEWS, April 2012)

La Traviata (Theater Hagen)

“…Theater Hagen hat natürlich keine Anna Netrebko – aber es hat Stefania Dovhan. Wenn sich das Publikum ohne lange zu zögern geschlossen aus den Sitzen erhebt, sobald eine Sängerin vor den Vorhang tritt, spricht das für sich – so geschehen am Ende dieser Premiere. Vom ersten Ton an beherrscht Stefania Dovhan das Geschehen, singt mit einer zupackenden Intensität, dass sofort klar ist: Hier geht’s um alles. Die Stimme ist luxuriös leuchtend, voll und durchaus groß, klangvoll auch noch in der tiefen Lage. Was für ein Rollendebüt! Und dazu ist die Sängerin auch noch eine sehr attraktive Bühnenerscheinung.” (www.omm.de)

“Stefania Dovhan wird vom Publikum überschwänglich gefeiert für die Violetta. Der gibt sie einen intensiven Ton, zeigt sich sicher in der Intonation, technisch brillant in den heiklen Koloraturen („sempre libera“) – ein glaubwürdiges Rollenportrait von großer Ausstrahlung. Noch anrührender, noch sinnlicher wird Dovhan diese große Partie ausgestalten, ist sie einmal ganz und gar hineingewachsen in den Taumel der Emotionen, denen die Traviata ausgeliefert ist.” (www.opernnetz.de)

“Stefania Dovhan ist als Traviata eine sensationelle Entdeckung. Mit müheloser Höhe, engelsgleichen Spitzentönen und makellosen Koloraturen kann sie Lebenshunger und Todesangst gleichermaßen überzeugend vermitteln.” (www.derwesten.de)

“Stefania Dovhan in der Titelpartie traf darstellerisch sehr gut den Charakter der Violetta. Sie konnte den Überdruss und die Leichtlebigkeit im 1. Akt genau so gut vermitteln, wie ihre grenzenlose Liebe zu Alfredo. Sehr berührend, mit sparsamen Gesten, gestaltete sie den letzten Akt. Vokal konnte man nahezu von einer Erfüllung sprechen. Dramatik, lyrisches Empfinden, Geläufigkeit bei exzellenter Koloraturtechnik, sowie eine gut abgestützte Mezzavoce, sind die Merkmale ihrer Violetta. Sie kann mit dieser Rolle sicher eine glänzende Karriere machen. Die Hagener Violetta vor 25 Jahren, Luba Orgonassová, startete damit eine Weltkarriere.” (www.ioco.de)

“Stefania Dovhan singt die Rolle der Violetta, die nicht nur zu den schönsten, sondern sicher auch zu den schwersten Partien der Opernliteratur gehört. Makellos bewältigt sie die halsbrecherischen Koloraturen des ersten Aktes. In kraftvoller Klarheit setzt sie die Spitzentöne, um gleich darauf in zarten und melancholischen Cantilenen die verletzliche Seite der lebensfrohe Kurtisane zu zeichnen.  Die Hagener Sopranistin kostet die Vielseitigkeit der Rolle in vollen Zügen aus und lässt das Publikum die überschwängliche Lebensfreude, die anrührende Zuneigung und auch die tieftraurige Verzweiflung der Violetta mitfühlen.” (Wochenkurier Hagen 20 Jan. 2010)

Critical acclaim for “Don Giovanni (NewYork City Opera, November 2009

“Pride of place goes to the Donna Anna, the Ukrainian-American soprano Stefania Dovhan, making her City Opera and role debut. She has a spinto with a gleaming core of voice and more than enough flexibility for both the “Non mi dir” and the high-lying figurations of the molto allegro of the Act II sextet.” (Richard Garmise www.opera-britannia.com)

“Stefania Dovhan revealed a hint of star quality as Donna Anna, her voice dark in timbre and expressively pointed.” (Alex Ross The New Yorker)

“Stefania Dovhan, a soprano with a titanium voice and precision control, sings Donna Anna, not as the usual sanctimonious whiner but as a tough and complicated lady driven by outrage, erotic fascination, and manipulative tenderness. (Justin Davidson New York Magazine)

“All the women soared through their demanding roles, especially Stefania Dovhan as a vocally sure Donna Anna.” (Zinta Lundborg Bloomberg.com)

“Stefania Dovhan (Donna Anna) has no trouble projecting to the back of the hall. Her voice cuts like a well-polished blade, yet it’s an elegant, attractive instrument, and her piano singing is exquisite.”(Andrew Farach-Colton ClassicalSource.com)

“The two main women’s roles – the greatest bugbears in the opera – were brilliantly filled by the demonstrative, big toned, previously-mezzo-now-soprano Keri Alkema as Elvira and the more brightly and delicately toned but still potent (and vocally agile) Stefania Dovhan as Donna Anna. Neither singer approximated or faked a moment or her role; here are two new major singers with grand breath control, accurate pitch and coloratura and fine acting abilities.” (Robert Levine Classics Today.com)

“Stefania Dovhan and Keri Alkema were blazing powerhouses as, respectively, Donna Anna and Donna Elvira.” (Scott Cantrell The Dallas Morning News)

“The soprano Stefania Dovhan brought impetuousness and a bright and strong voice to the role of Donna Anna.”

“The voices of the mostly young cast came through with vibrancy and presence, especially those of the sopranos Stefania Dovhan, as Donna Anna, and Keri Alkema, as Donna Elvira.” (Anthony Tommasini The New York Times)

“Stefania Dovhan’s severely wronged Donna Anna infuses her singing throughout with light and dark colors.” (David Finkle TheaterMania.com)

“…the higher soprano sounds ring out brilliantly… Joélle Harvey (Zerlina) and Stefania Dovhan (Donna Anna) sounded clear and true.” (James Jorden New York Post)

“There was lustrous, impassined singing from Stefania Dovhan as Donna Anna…” (Matthew Gurrewitsch www.beyondcriticism.com)

“… Donna Anna’s “Non mi dir” treated to virtuoso realizations by Stefania Dovhan…” (Bruce-Michael Gelbert www.qonstage.com)

Review of the “Intermezzi” Recital (Spoleto Festival USA 2009)

“Dovhan — our lady of the impressive range, enormous power and delicate sensibilities — sang better than any lark, nightingale or most sopranos I have heard. She negotiated Handel, Verdi and Leoncavallo with finesse, tones velvet, scorching, pure, whatever best suited the music. When she refused marriage in Mozart’s “Come Scoglio” from “Cosi fan tutte,” she captured the comedic element of the piece, and demonstrated her mastery of the registers this aria demands, from mezzo (near contralto) to notes in coloratura territory, at times within a measure or two. An experience to be cherished.”(Carol Furtwangler The Post and Courier www.postandcourier.com)

About Louise in “Louise” by G. Charpentier (Spoleto USA 2009)

“The Spoleto revival, which runs through June 6, is blessed with Stefania Dovhan, a soprano who clearly understands both the musical and dramatic potential of the title role. Dovhan, making her U.S. debut with these performances, is a remarkable discovery. She has a voice rich in every register and a sure sense of theater. She conveyed all the lushness and suaveness of the hit tune (“Depuis le Jour”) as if she had been singing it all her life.” (Howard Kissel www.musicalamerica.com)

“In one magnificent evening, Spoleto presented the United States operatic debut of a radiant new soprano, Stefania Dovhan… Dovhan was a bewitching Louise, singing with a fresh, sweet, opulent tenderness that sometimes called the young Mirella Freni to mind. If “Depuis le jour,” her big moment at the beginning of Act III, began rather tentatively, Dovhan settled in thereafter and brought both polite, “good-girl” shyness and frank sexual exhilaration to an aria that demands both.” (Tim Page, a Pulitzer Prize-winning music critic for Spoleto Overview The Post and Courier)

“…but without the right Louise the opera might not make the impression it did Friday night. That was because it marked the U.S. opera debut of a spectacular soprano, Stefania Dovhan, who has both a gorgeous voice and a sure dramatic sense. I feel extremely lucky to have heard her at the very beginning of her operatic career. The last time I made such a bold remark was about 10 years ago, when I heard a young tenor in a new production of “La Boheme” at City Opera — his name was Rolando Villazon. (Howard Kissel  www.nydailynews.com)

“Dovhan has the perfect voice and character for the part. With a strong, well-projected voice and fully developed acting skills, she certainly is one new voice to watch.” ( William Furtwangler “Spoleto Today” The Post and Courier)

“As heroine Louise, soprano Stefania Dovhan was a wonder. As the opera unfolded, she morphed convincingly from a giddy, moonstruck teenager into a far more worldly creature. She even pulled off an impressive vocal shift in the process: her light, girlish tones shifted into richer, more sensual sonorities as she switched worlds (and priorities).” (Lindsay Koob Charleston City Paper)

“Stefania Dovhan and Sergey Kunaev were a ceaselessly ardent Louise and Julien, sexy and unaware of anything but their own needs.  One could believe not only that these two would burst parental bonds but that their world contained no one else that mattered. She delivered “Depuis le jour,” the score’s sole famous number, with the same verve as all their proclamations of fidelity.” (Lawrence Toppman OPERA NEWS)

“In fact, in terms of being a “musical play”, Louisewas riveting. This is due in no small measure to the sensational American-Ukrainian soprano Stefania Dovhan. She is a stupendous singing actress who can modulate her voice to bring out a rollercoaster of emotions…  in the totality of her singing persona, she is an operatic dream. Dovhan is headed for an outstanding career. (Paula Citron www.classical963fm.com)

 

The follolwing reviews are translated from German by Dominik Freiberger: www.dominikfreiberger.de

About Gilda in ”Rigoletto” by G. Verdi:

“Ein Ereignis ist Stefania Dovhan als Gilda. Wie sie alle Emotionen nach außen trägt, ist phänomenal: Gefühle unschuldiger Kindesliebe, Verlangen nach dem Herzog, tiefste Verzweiflung und Mitleid. Dovhan führt ihren Sopran überlegen, ohne jedes Zögern bis in die höchsten Höhen, verfügt über unzählige Nuancen und ein anrührendes Piano.” (www.opernnetz.de)

„As Gilda she sings her way into the hearts of the audience. Almost effortlessly, she carries her soprano to the highest heights and sings clean and emotional coloratura. For her Aria “Gualtier Malde” she receives long lasting ovations.”

“Stefania Dovhan’s Gilda is a sensation. The way she conveys emotion is phenomenal: feelings of a child’s innocent love, desire for the duke, deep despair and pity. Dovhan uses her soprano voice in a superior way, without hesitation in the highest heights, her voice possesses countless shades and a touching piano.”

“Absolute Lichtgestalten waren Rigoletto und seine Tochter Gilda… Bei Stefania Dovhan als Gilda vereinigen sich mädchenhafte Ausstrahlung, Leichtigkeit und Klarheit der Diktion, eine silbrig timbrierte Stimme mit müheloser Höhe, fabelhafter Mezzavoce und unverkrampftem Spiel zu einem vollendeten Ganzen.” (www.ioco.de)

„Absolute highlights were Rigoletto and his daugher Gilda… girlish charisma, lightness and clarity of diction, a silvery timbered voice with effortless heights, fantastic mezzavoce and a natural acting unite into perfection in Stefania Dovhan’s interpretation of Gilda.”

“Das Hagener Theater ist berühmt als Sprungbrett für Sängerkarrieren. Der Liste darf man nun zwei weitere Namen hinzufügen: Stefania Dovhan als Gilda und Frank Dolphin Wong als Rigoletto, junge, hochbegabte Talente. Man muss lange suchen, bis man eine Bühne findet, die den „Rigoletto” mit hauseigenen Kräften besetzen kann und dann noch auf einem derart hohen stimmlichen Niveau.

Noch bevor Gilda singt, lässt Verdi sphärische Flötentöne erklingen. Der Komponist macht deutlich, dass Rigolettos Tochter nicht von dieser Welt ist: Sie wird nicht als Individuum wahrgenommen, sondern nur als Objekt von Wunschphantasien. Stefania Dovhan gestaltet Gilda mit makellosen, überirdischen Höhen und setzt sensible Akzente. So ergreifend schön ist „Caro nome” selten zu hören.” (www.derwesten.de)

Theatre Hagen is famous as a springboard for singers’ successful careers. To this list we may now add two more names: Stefania Dovhan as Gilda and Frank Dolphin Wong as Rigoletto, both young and highly gifted talents. It takes some time to find a theater which can cast “Rigoletto” with its ensemble members and with such high vocal standards.

Before Gilda starts to sing, Verdi’s flutes create an ethereal sound . The composer emphasizes that Rigoletto’s daughter is not an actual human being: she isn’t perceived as an individual but only as an object of desire. Stefania Dovhan creates her Gilda with immaculate and supernatural heights, accentuating sensitively. “Caro nome” was rarely sung so movingly and beautiful.”

“Stefania Dovhan ist eine sehr mädchenhafte, ja anrührend kindliche Gilda, auch stimmlich, wobei der warme und leuchtende Sopran nie dünn ist und durchaus Nachdruck besitzt.” (www.omm.de)

„Stefania Dovhan is a very girl-like, almost childish Gilda, also vocally, with her warm and brillant soprano never lacking in substance and with a lot of emphasis.”

“Durch ihre Kantilenen, Verzierungen und virtuos angestoßenen Spitzentöne hebt sie geradewegs vom Boden der Realität ab.” (www.derwesten.de)

„With her cantilenas, embellishments and masterfully tipped high notes she blasts off straightaway from the ground of reality.”

“Stefania Dovhan singt als Tochter Gilda eine herausragende Partie. Ihre schwärmerische Liebesarie (Gualtier Maldé) gerät zu einem Höhepunkt des Abends.” (www.ruhrnachrichten.de)

„Stefania Dovhan is singing an outstanding performance as Gilda. Her lyrical love aria (Gualtier Maldé) belongs to the climax of the evening.”

“Stefania Dovhan zeigt eine lyrische, jedoch auch gequälte Gilda wärend sie schmerzlich durch das Drama wächst. Die gut kontrolierten, verzierenden Variationen im “Caro Nome” fallen ihr ausgesprochen leicht… ihr klang ist schön offen und ehrilch.” (Operanederland)

„Stefania Dovhan creates a lyrical but also agonized Gilda who is growing grievously throughout the drama. The well-controlled, decorative variations in “Caro Nome” seem to come naturally to her…her sound is beautifully open and honest.”

“In der Rolle der Gilda singt sie sich in die Herzen des Publikums. Geradezu mühelos schraubt sie ihren Sopran in die Höchsten Höhen und singt saubere, gefühlvolle Koloraturen. Für ihre Arie “Gualtier Malde” erhält sie vom Premieren Publikum langhaltenden Szenenapplaus.” (Wochenkurier)

“To her character, Stefania Dovhan gives brilliance also in high notes with her clear and pleasantly vibrating voice and an absolutely perfect intonation.”

“Stefania Dovhans reife Stimme ist in der gluttvollen Leidenschaft zu Hause.” (WAZ)

„Passionate fervor is where Stefania Dovhan’s ripe voice is at home.”

“Stefania Dovhan markierte mit ihrem jugendlichen Sopran einen erfreulichen Höhepunkt des Abends.” (NRZ Kultur)

„With her youthful soprano Stefania Dovhan marked a delightful climax of the evening.“

“Ihrer Rolle verleiht Stefania Dovhan mit ihrer klaren und angenehm vibrierten Stimme bei absoluter Intonationssicherheit auch in den Höhen Glanz.” (www.rga-online.de)

About Cleopatra in ”Giulio Cesare” by G.F. Handel:

„Soprano Stefania Dovhan is a great talent nurtured in Theater Hagen. With her Cleopatra the young singer is now presenting a breathtaking performance which will likely provide a springboard for her career. Her Cleopatra is a brisk blend of a warrior princess and a vamp, with accurate, completely effortlessly placed coloratura, glowing high notes and flawless trills.” (Monika Willer Westfalenpost jan14, 2008)

„… the crown – just like in Händel’s time – is due to a soprano. Stefania Dovhan displayed a true firework of coloratura. There is no doubt: she knows what she is able to do, and she flaunts it – her Cleopatra is all energy and all zest for action.”(Christoph Schulte im Walde www.opernnetz.de and Westfälische Nachrichten Münster Jan 2008)

“With her winsome coquetry, she not only charmed her Roman emperor, but in the meantime rapidly became the public’s favorite. It was a bliss to see her immersing herself in the Egyptian queen and easily firing cascades of coloratura into the round. In her final aria she performed with such an aplomb and lunacy that at the late hour, the audience in Hagen erupted with spontaneous and frenetic exultation.” (Dirk Altenaer der neue merker Jan. 2008)

„… Stefania Dovhan is a Cleopatra who arrests our eyes and ears. Barely audibly affected by a previously announced cold, her smooth soprano cajoled and moaned, raged and hesitated. She gorgeously decorates the da-capo-parts of her arias with ornaments and thus shows what coloratura in baroque opera really is: exuberant emotion and a celebration of life.” (Anke Demirsoy Westfälische Rundschau Jan.14, 2008)

„Stefania Dovhan supplies a brilliant role and as a flirtatious sex bomb she is portraying one of her most powerful roles.” (Karsten Mark Westfälischer Anzeiger Hamm Jan. 15, 2008)

„… Stefania Dovhan, a singer with a youthful and bright timbre and sensual colour of tone. Also in her highest register she gleams splendidly, at first confident in her victory, later, when the situation turns against her with a beautiful legato sound…Physically, she is an exotic beauty with a modern Egyptian aspect.”(www.omm.de)

About Annina in ”Eine Nacht in Venedig” by Johann Strauss:

„…lead by a sensuous, coquettish Annina, into whom Stefania Dovhan partly due to her exuberant joy of playing, breathes the most energetic life. Her opening song “Frutti di mare” is bursting with wit and her solos constitute the climaxes of the evening. Here, an operetta diva par excellence.” (Dirk Altenaer der neue merker online Nov. 19, 2007)

„Stefania Dovhan, the multiple prize-winning, highly gifted young soprano from (Theater) Hagen, has the lightness and the effortless altitude to transport Annina’s mercurial temper. Additionally, her soprano voice is gaining more and more presence and radiance.” (Monika Willer Westfalenpost Oct. 29, 2007)

About Sister Rose in Jake Heggies’ ”Dead Man Walking:”

”… eine exzellente Leistung bot -stellvertretend hervorzuheben war diesbezüglich die vollendete Darbietung der Sister Rose durch die junge Sopranistin Stefania Dovhan.” (W. Borchers DAS OPERNGLASS 10/2007)

About Adina in Donizetti’s ”L’Elisir D’Amore:”

”Soprano Stefania Dovhan will certainly make a big career, she sang with such a radiant timbre and with such effortless tops, that not only Nemorino must have fallen in love with her.” (M. Willer Westfalen Post March 19, 2007)

”Stefania Dovhan (Adina) with a great charm underwent a transformation from a capricious into a love-stricken, richly multi-faceted woman (character), all that have been reflected in her clear, beautiful soprano.” (Doro Kirchoff Westfalisches Rundschau March 19, 2007)

About Olympia in Offenbach’s „Les Contes d’Hoffmann:“

“Stefania Dovhan does not shape Olympia’s coloratura as an abstract exercise on style, but with a warm and radiant voice, she succeeds in the balancing act between artistic vocalism and erotically coloured declaration of love for Hoffmann. This is one of the few moments of the evening in which the dramatic core of a character is revealed and at the same time music and performance fuse into a great moment.” (S. Schmöe www.omm.de 2006)

About Nanetta in Verdi’s ”Falstaff:

”Especially magical was the bird-like light line (singing)of Stefania Dovhan who portrayed a girl (Naneta) in-love.” (A. Hirsch Westfälischer Anzeiger 06/2006)

”The strongest female voice belonged to Stefania Dovhan in the role of Nanetta.” (K. Lipinski Ruhr Nachrichten 06/2006)

About Max in Knussen’s ”Where the Wild Things Are:”

„As Max, young Stefania Dovhan introduces herself to the audience in Hagen with a demanding part which she masters brilliantly…the role requires young dramatic capabilities which the singer supplies with great presence.” (S. Schmöe Online Music Magazine 09/2005)

„Stefania Dovhan as Max in “Where the Wild Things are” performed passionately, ready for risk-taking in her vocal performance.“ (C. Vratz Opernwelt 11/2005)

Review of the recital at the Grazhda Music and Art Center, NY(USA):

”…Dovhan appeared as a young princess possessed, with the powers at her command – a vocal instr ument fusing beauty and clarity to lacerate hearts and cut orchestras, and interpretive gifts suffusing lines with out-of-body vision and poignacy – seeming to come through her from beyand, like Jeanne d’Arc’s voices.”

”…Pensive or flamboyant, the intelligence, the innate poetry of her soul lights all arias and songs. How wonderful to have her give us the human, vocal animation with a riding flamenco chest voice in ”Siete canciones Populares Espanolas” (Seven Spanish Folk Songs) for a dimention merely chased by instrumentalists.”

”…Lyric, dramatic, Dovhan’s soprano is not limited to the register, but, rather, shaped and shaded by demands of each work. She is the diva for the world to love.” (Kitty Montgomery the Daily Freeman July 19, 2004)