The Marriage of Figaro, WAO July 2015
“……As the Countess, Elvira Fatykhova brings angst and turmoil to her character, along with beautifully clear notes to emphasise her predicaments. “
Nerida Dickinson, Australian Stage Online, July 2015
Violetta, la Traviata State Opera of South Australia
“Light and agile of voice, Russia’s Elvira Fatykhova makes a compelling Violetta who understands every inch of
Verdi’s expressive range. Her delicacy and poise bring rare humanity to the role, but it is even rarer to see a singer this good act so well too. When she sings Gran Dio! Morir si giovine, it hits the pit of one’s stomach.”
Graham Strahle, The Australian, 08 May 2014
Don Giovanni Opera Australia
“Elvira Fatykhova sang Donna Anna with coloured warmth, bringing out emotional depth and a convincing range from defiance to stagy pathos”
Peter McCallum, July 2014
The Marriage of Figaro, Opera Australia
“…and soprano Elvira Fatykhova (Countess Almaviva) impressed with her richly coloured tonal palette and strong dynamic contrast.”
Murray Black, The Australian, February 2012
La Traviata, Opera Australia
“In this revival it is also the delicate mixture of precision, clarity and warmth, not to mention expressive stamina, of Elvira Fatykhova's Violetta. With a voice of silken penetrating lightness she creates a Violetta of paradoxical strength and fragility, like a garment that springs back to shape and lustre after being crushed.”
Peter McCallum, The Sydney Morning Herald, January 2011
La Traviata, Opera Australia
“Many Violettas have graced the classic Second Empire opulence of Elijah Moshinsky’s and Michael Yeargan’s La traviata…among them Elvira Fatykhova is a jewel. When…she quietly rose to the final A of Addio del passato in Act III – spun out delicately into nothingness, as Verdi directed – she had the same immaculate control of pitch, colour and intensity that she had displayed all evening. Just as in the brilliant coloratura of Sempre libera at the end of Act I, where the sprightly detail and top Cs had all seemed so easy, there was a sense such command, precision and stamina were the fruit of years of artistic dedication. Every young singer should hear it, to learn what the right mix of talent, intelligence, hard work and grace can achieve.”
Peter McCallum, The Sydney Morning Herald, January 2007
Manon, Opera Australia
“Fatykhova, with her exquisite singing and magnetic presence not only brought the heroine alive but made her quite believable as well.”
Opera Magazine, March 2005
Born in Ufa, in the province of Bashkiria, Russia, Elvira Fatykhova began her singing studies at the Ufa College of Arts and continued at the Ufa Institute of Arts. In 1995, she was awarded a special prize at the Glinka Singing Competition, in 1996 the Grand Prix at the Almuhametov Singing Competition in Ufa, and in 2002 was a finalist at the Competizione dell'Opera international singing contest of Italian opera in Dresden. Elvira became a principal singer at the Bashkirian State Opera House in 1997. She then joined the Ankara State Opera and Ballet Company in 1999, where she was a principal singer with the ensemble until 2007 and remains a guest principal. She has also been a principal guest artist with the Croatia State Opera, and has performed for Split Opera, Croatia.
Elvira made her Australian debut in 2002, invited by Swedish conductor Ola Rudner, performing Violetta in La Traviata in a concert with the Tasmanian Symphony Orchestra. She returned, a year later, to sing at the Tasmanian Symphony Orchestra’s annual Opera Gala, and in 2004 made her debut with Opera Australia performing the title role in Massenet’s Manon.
Elvira’s operatic roles include the title role in Lucia di Lammermoor (Opera Queensland, New Zealand Opera, Croatia State Opera); Violetta in La Traviata (Opera Australia, West Australian Opera, New Zealand Opera, Turkey, Croatia, Russia); Gilda in Rigoletto (West Australian Opera and throughout Europe); Rosina in The Barber of Seville (Opera Queensland, Landestheater Salzburg); Marie (Fille du Regiment); Countess and Susanna (The Marriage of Figaro); Constanze (Die Entführung aus dem Serail); Adina (L’elisir d’Amore); Elvira (I Puritani); Donna Anna (Don Giovanni); Norina (Don Pasquale); and Marfa in Rimsky-Korsakov’s The Tsar’s Bride.
She has appeared in concerts at Opera Australia’s New Year’s Eve Gala, with the Hong Kong Philharmonic Orchestra, the Haydn Orchestra in Bolzano (Mozart Requiem), the Presidential Symphony of the Republic of Turkey, the Bilkent Symphony Orchestra in Turkey, and in many centres in Turkey including Ankara, Mersin, Bursa, Izmir, Fethiye and Istanbul.
Elvira’s recent performances include Opera in the Domain for Opera Australia, a return to West Australian Opera to sing Countess in The Marriage of Figaro, her debuts with the Victorian Opera in Laughter and Tears and the State Opera of South Australia performing Violetta, the roles of Donna Anna, Violetta, Countess (Marriage of Figaro) and Miss Wordsworth (Albert Herring) for Opera Australia, the title role in Lucia di Lammermoor for Opera Holland Park, London, and the title role in Rimsky-Korsakov's opera The Snow Maiden for the Bashkirian State Opera and Ballet Theatre.
In the 2017/2018 season, she also made her debuts in the roles of Leila in the Pearlfishers, Micaela in Carmen, Amina in Salavat Yulaev (Z Ismagilov) and Iole in Handel's Hercules, in the premiere performances of this work in Russia.
This year Elvira will add the role of Marguerite in Faust to her repertoire at the Shalayapin Festival, and has been nominated as the Best Female Performer in an Opera at the 'Onegin'National Awards in Saint Petersburg.
Elvira Fatykhova is managed by Graham Pushee: email@example.com
This biography is for general information purposes only and not for publication
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