Veronika Dzhioeva's debut as Lady Macbeth in Verdi's Macbeth was a tremendous success when it took place in March of this year at the Zurich Opera House.
The series of performances began on March 9, 2022, with a production of Verdi's Macbeth, directed by Barrie Kosky.
"Lady Macbeth was sung by our soprano, Veronika Dzhioeva. An article in one of Zurich's newspapers called her debut a sensation; she sang magnificently and showed herself excellently. The theaters were full every evening, which was a joy for us," said Ildar Abdrazakov.
Opera critics hailed her debut as a sensation:
"The true sensation was Veronika Dzhioeva as Lady Macbeth. Her bright, stylishly managed soprano effortlessly fills the Zurich hall (and, likely, would do the same in much larger venues), with resonant low notes akin to a mezzo, a reliable middle register, and shining highs. Her stage presence is outstanding. Dzhioeva also took on two performances originally scheduled for Anna Netrebko, which she was unable to sing, and thus exemplifies a differentiated approach to 'Russian' artists. Dzhioeva hails from South Ossetia."
— J. Krobot, Zurich Opera House
"The letter 'Nel di della vittoria' is whispered by intertwining voices from everywhere before the Lady’s (Veronika Dzhioeva’s) voice rises to 'Ambizioso spirto...'. A very Russian voice, with a magnificent vibrato, unafraid to distort some sounds, a magnificent lyric-dramatic soprano, impressive and colorful, sometimes catching the lowest notes, capable of swirling sounds, sending a stunning cabaletta before ending on a brilliant vocalise. In short, one of those vocal performances that mesmerize, and it’s easy to recall Verdi's phrase about preferring an ugly or rough voice to a smooth one. Miss Dzhioeva's voice is certainly not ugly, but it’s a little wild, and we’re very glad of it. We are captivated by their first duet, it’s tight in its little chair, she presses herself against him like a constrictor,"
— Charles Sigel, ForumOpera
"Veronika Dzhioeva impressed as the murderous Lady Macbeth with her rich, full-bodied soprano. During her entrance aria “Vieni t’affretta”, the charming singer was still dealing with a slight tremolo in her voice, but this had already vanished by the time she delivered a stunning performance of “La luce langue”. She went on to captivate the audience with the demanding yet brilliantly executed coloratura of the Brindisi. In the famous sleepwalking scene, she was able to strikingly convey Lady Macbeth’s fragility."
— MARCO ARANOWICZ, OperaGazet
The series of performances began on March 9, 2022, with a production of Verdi's Macbeth, directed by Barrie Kosky.
"Lady Macbeth was sung by our soprano, Veronika Dzhioeva. An article in one of Zurich's newspapers called her debut a sensation; she sang magnificently and showed herself excellently. The theaters were full every evening, which was a joy for us," said Ildar Abdrazakov.
Opera critics hailed her debut as a sensation:
"The true sensation was Veronika Dzhioeva as Lady Macbeth. Her bright, stylishly managed soprano effortlessly fills the Zurich hall (and, likely, would do the same in much larger venues), with resonant low notes akin to a mezzo, a reliable middle register, and shining highs. Her stage presence is outstanding. Dzhioeva also took on two performances originally scheduled for Anna Netrebko, which she was unable to sing, and thus exemplifies a differentiated approach to 'Russian' artists. Dzhioeva hails from South Ossetia."
— J. Krobot, Zurich Opera House
"The letter 'Nel di della vittoria' is whispered by intertwining voices from everywhere before the Lady’s (Veronika Dzhioeva’s) voice rises to 'Ambizioso spirto...'. A very Russian voice, with a magnificent vibrato, unafraid to distort some sounds, a magnificent lyric-dramatic soprano, impressive and colorful, sometimes catching the lowest notes, capable of swirling sounds, sending a stunning cabaletta before ending on a brilliant vocalise. In short, one of those vocal performances that mesmerize, and it’s easy to recall Verdi's phrase about preferring an ugly or rough voice to a smooth one. Miss Dzhioeva's voice is certainly not ugly, but it’s a little wild, and we’re very glad of it. We are captivated by their first duet, it’s tight in its little chair, she presses herself against him like a constrictor,"
— Charles Sigel, ForumOpera
"Veronika Dzhioeva impressed as the murderous Lady Macbeth with her rich, full-bodied soprano. During her entrance aria “Vieni t’affretta”, the charming singer was still dealing with a slight tremolo in her voice, but this had already vanished by the time she delivered a stunning performance of “La luce langue”. She went on to captivate the audience with the demanding yet brilliantly executed coloratura of the Brindisi. In the famous sleepwalking scene, she was able to strikingly convey Lady Macbeth’s fragility."
— MARCO ARANOWICZ, OperaGazet