Olesya Petrova’s Lyricism and Drama Shine in a Spectacular Carnegie Hall Debut in New York
- Lisa Reynolds
- 2 days ago
- 4 min read
Internationally Acclaimed Mezzo-Soprano Olesya Petrova Captivated a Spellbound Carnegie Hall Audience with a Night of Vocal Brilliance and Heartfelt Artistry in New York
When Olesya Petrova appeared at Carnegie Hall, the audience witnessed a masterclass in vocal artistry and emotional expression. The celebrated Russian mezzo-soprano, who made her Metropolitan Opera debut in 2014 as Madelon in Andrea Chénier, returned to New York with the same emotional insight that made her portrayal of the self-sacrificing old woman unforgettable. In the current revival of Giordano’s opera, Madelon’s heartbreaking aria Son la vecchia Madelon once again revealed Petrova’s talent for combining delicacy with dramatic power. Those same qualities illuminated every note of her recital.
A frequent guest of the Bolshoi Theatre, Zurich Opera, and many of the world’s leading companies, Petrova has brought her art to audiences throughout Europe, Asia, and the Americas. Her global presence continues to grow, and she was recently honored with the Cultured Focus Magazine Excellence in Arts and Culture Award for 2025 in recognition of her contribution to international artistic exchange.
Olesya Petrova Gives Stellar Performance
Her Carnegie Hall performance, presented courtesy of the Metropolitan Opera as part of the non-profit International Concerts series directed by Artistic Director Diana Stomsvik, became an event that celebrated both voice and vision. It invited listeners to experience the human story through the timeless power of song.
From the opening notes of Tchaikovsky’s None But the Lonely Heart, Petrova’s voice unfolded with effortless naturalness and warmth. Without printed texts or translations, her expressive phrasing bridged language barriers, allowing the pure emotion of the music to shine. Francesco Barfoed, her pianist and collaborator, mirrored her sensitivity and gave poetic shape to each accompaniment.
In To Forget So Soon and Reconciliation, Petrova revealed the resonant beauty of her lower register, blending pathos with luminous control. The haunting Lullaby captured her ability to balance sorrow and tenderness, her voice shimmering like moonlight on water.
The Mahler selections brought a striking change in atmosphere, revealing Petrova’s masterful phrasing, emotional insight, and exceptional breadth of tone that brought the composer’s music vividly to life. In Wo die schönen Trompeten blasen, she wove a vivid story of love and loss, each phrase unfolding with narrative grace. Barfoed’s playing added the rhythmic pulse and tension of distant marches, making the duet between piano and voice almost cinematic in scope.
Petrova’s rendition of Ich bin der Welt abhanden gekommen concluded the Mahler set in complete serenity. Her sound was sumptuous and deeply inward, suggesting an artist withdrawing into a world of stillness and reflection. The song became a hymn to solitude, beauty, and the inner life of the creative spirit.
With Rachmaninoff, Petrova gave the recital its most expansive emotional reach. Her soaring top notes in In the Silence of the Secret Night floated with otherworldly grace, and Christ is Risen carried both solemnity and radiance. In I Fell in Love to My Sorrow, she let passion and vulnerability collide, offering one of the evening’s most powerful moments.
The reflective beauty of Oh, Never Sing to Me Again and the delicacy of Lilacs revealed her sensitivity to Rachmaninoff’s longing and nostalgia. The closing song, I Am No Prophet, became her artistic statement—an affirmation that she is above all a singer dedicated to truth and humanity.
Three encores brought the evening to a jubilant close. A folk-inspired Tchaikovsky lament expressed deep yearning and loss, followed by a tender How Beautiful It Is Here by Rachmaninoff that shimmered with quiet joy. The final encore, Spring Waters (Rachmaninoff), was a triumph of sound and spirit, filled with Barfoed’s brilliant cascades and Petrova’s radiant voice affirming the power of renewal.
Throughout the evening, Olesya Petrova embodied the essence of her art. Her singing combined emotional depth with effortless refinement, confirming her place among the world’s most compelling mezzo-sopranos. The recital stood as both a personal triumph and a testament to the importance of international performances that bring cultures together through the universal language of music, which is a hallmark of the non-profit organization International Concerts programming.
About International Concerts
International Concerts is a distinguished non-profit organization dedicated to fostering global understanding through the universal language of music. Guided by its mission to unite audiences and artists across borders, International Concerts presents performances by world-renowned musicians in premier venues around the world. Founded and directed by Artistic Director Diana Stomsvik, the organization curates programs that celebrate excellence in classical music while inspiring cultural exchange and appreciation. Under her visionary leadership, International Concerts continues to enrich the international arts community through its innovative concert series, education initiatives, and philanthropic collaborations.