ZOYA GRAMAGIN, Soprano
“Tatyana is sung by the remarkable Zoya Gramagin. (Yes, she was born and trained in Russia.) Her voice is what the Italians would call a “lirico spinto soprano”, i.e. a soprano with the force and clarity to be readily heard through all the sound of the chorus and orchestra. Her long aria in Act 1, where she writes the letter to Onegin, is a triumph. Her voice is a stunningly beautiful instrument over which she has such utter and complete, yet easy and natural control. I could listen to this lady sing forever..” – Broadway World (2022)
“In Act I, Gramagin used her clear soprano to imbue Tatyana with innocence and undercurrent of strength… Of all the characters in this “Onegin,” Gramagin’s Tatyana was the only one who seemed to have truly changed, placing her at the emotional core of this production… Onegin may have been the last character on stage, but Tatyana had the best last word as she operatically and metaphorically dropped the mic…” – PopLifeSTL (2022)
“Zoya Gramagin leads the way with a transfixing performance as Tatyana. Alone onstage for a large portion of the first act, she is a commanding presence…” – ReviewSTL (2022)
Zoya Gramagin at Carnegie Hall, December 2019:
“Making an appearance with the Habanera from Bizet’s “Carmen” was soprano Zoya Gramagin; her voice carried a sultry texture through her medium to lower range, at times rising with a bright sensuality. Supported by her confident bearing and the crisp chords from Serebriannikov, Gramagin delivered a solid rendition of this famous song.” – Logan Martell, Operawire
“Zoya Gramagin made a spectacular Carmen, singing Bizet’s seductive “Habanera” with conviction as well as interestingly textured tone. We thought of her as a falcon, which is what the French call a darkly colored dramatic soprano. Whatever you call her voice, it was a pleasure to hear, well-centered and even from the lower register to the top.” – Voce di Meche
“Soprano Zoya Gramagin as Cio Cio San, meets the demands of the role wonderfully. Her opening night performance of “Un Bel Di Vedremo (One Good Day We Will See)”, the opera’s most famous and most performed aria, was flawless, with a quality that must match any that can be heard.” – Frances Brennan, Tampa Bay Free Press
“…major-league success” – Boston Musical Intelligencer, about Zoya Gramagin’s Liza in Tchaikovsky’s “The Queen of Spades”. Conductor Lidiya Yankovskaya.
Spotlight Artists Management 