Ekaterina Lukash, mezzo-soprano

Biography

In 2015, Ms. Lukash graduated with honors from the Russian Academy of Theater Arts GITIS in Moscow. Currently she studies with Mrs. Elena Batoukova-Kerl in Germany.

From 2014 to 2017, Ekaterina trained at the Stanislavsky and Nemirovich-Danchenko Moscow Academic Musical Theater. She made her debut on the stage of the theater as Orfeo in the opera “Orfeo and Eurydice” by K.V. Gluck. With the Symphonic Capella, she took part in a concert performance of Prokofiev's opera "War and Peace" singing Sonya on the New Stage of the Bolshoi Theater of Russia. Furthermore, she performed several roles such as Niklaus (Les contes d’Hoffmann), Friday (Robinson Crusoe) by Offenbach, the title role in “Carmen”, Olga (Eugene Onegin), Polina (The Queen of Spades) by P.I Tchaikovsky, and Maddalena (Rigoletto) by G. Verdi.

Among her future and recent engagements are Flora, Berta and Polina at Tatar State Opera and Olga, and Friday (Robinson Crusoe) at Stanislavsky Music Theatre.

Since 2017, she has been a guest soloist of the Tatar Academic Opera and Ballet Theater Musa Jalil and a regular participant of the Chaliapin Theater Festival.

In 2019, she participated in the world premiere of Vladimir Nikolaev's opera "The Worker and the Collective Farmer" playing a role of Marlene Dietrich under the direction of the St. Petersburg Grand Symphony Orchestra with conductor Philip Chizhevsky.

In 2020, she made her debut on a stage of the Bolshoi Theater of Russia, in the title role of Offenbach ‘s "Pericola", directed by Philip Grigoryan and she made her debut as Romeo in “I Capuleti e i Montecchi” by V. Bellini at the Fifth Festival of Musical Theaters "To See Music".

In 2021, she took part in the world premiere of Igor Reichelson's opera "The Burnt Chapter of Eugene Onegin" in the Great Hall of the Moscow Conservatory made her debut as Cherubino in “Le nozze di Figaro” at the Voronezh State Opera and Ballet Theater and became a soloist of the Stanislavsky Music Theatre.

In 2022, she made her debut playing a Child in the opera "L’enfant et les sortilèges" by M. Ravel at the Voronezh Opera and Ballet Theater.

Ms. Lukash was nominated for the Russian National Theater Award "Golden Mask" in 2021 for the performance of a role of Cherubino “Le nozze di Figaro".

Calendar
Repertoire
Opera roles

Georges Bizet

CARMEN/Carmen

Christoph Willibald Gluck

ORFEO ED EURIDICE/Orfeo

Wolfgang Amadeus Mozart

LA CLEMENZA DI TITO/Sesto
COSI FAN TUTTE/Dorabella
LA FINTA GIARDINIERA/Ramiro
LE NOZZE DI FIGARO/Cherubino

Modest Mussorgsky

BORIS GODUNOV/ Marina Mnishek

Jacques Offenbach

HOFFMANNS ERZÄHLUNGEN/Nicklausse
LA PERICHOLE/Périchole
ROBINSON CRUSOE/ Vendredi

Sergej Prokofiev

THE LOVE FOR THREE ORANGES/ Klariche
WAR AND PEACE/ Helene Bezukhova
WAR AND PEACE/ Sonya

Henry Purcell

DIDO AND AENEAS/Dido

Maurice Ravel

L'ENFANT ET LES SORTILÈGES/ L'enfant

Nikolaj Rimskij-Korsakov

SADKO/ Lubava
THE SNOW MAIDEN/ Lel, Vesna
THE TSAR'S BRIDE/ Lubasha

Johann Strauss

DIE FLEDERMAUS/Orlofsky

Richard Strauss

DER ROSENKAVALIER/Octavian

Pyotr Ilyich Tchaikovsky

EUGENE ONEGIN/Olga
THE MAID OF ORLEANS/ Ioanna
THE QUEEN OF SPADES/ Polina

Giuseppe Verdi

NABUCCO/ Fenena
RIGOLETTO/Maddalena

Richard Wagner

DAS RHEINGOLD/ Erda
Review
LE NOZZE DI FIGARO: Cherubino
St. Petersburg Theater Magazine (January 2022), music critic Anna Gordeeva
Lukash's work (thought out by the artist, but proposed by the director, of course) is both in the musical sense and in the game a salute, fireworks, a hundred bottles of champagne open at the same time. Tall and fragile, the singer turns into a lanky page, whose entire plastic is the plastic of an impudent and frightened teenager. Here in this scene of the "double game" (a woman plays a boy who pretends to be a woman), the hands of a worried Cherubino unsuccessfully fumble around the sides, trying to find the pockets of his pants and habitually shove his fists in there — and the dress has no pockets, and there is downright tragic despair in the movements - at the same time impossibly funny.
ROBINSON CRUSOE: Friday
Russian Newspaper ( April 2022), music critic Andrew Maximov
.It is obvious to me that Ekaterina Lukash plays a wonderful homeric funny, very lively and cute... let's just say a creature whose every appearance is greeted with smiles and applause. Lukash plays a native who learns the world. Sometimes something animal suddenly appears in Friday's behavior, and sometimes it is strikingly naive, human.
LE NOZZE DI FIGARO: Cherubino
Musical Life Magazine (June 2021), music critic Evgenia Krivitskaya
Ekaterina Lukash – Cherubino, a guest soloist of the Bolshoi Theater, also became such a binding link. Her first appearance with a bicycle set up an extravagant mood, but the vehicle was only an attribute of a teenager, not beaten in any way. But the juicy, matte timbre, romantic interpretation and stage charm immediately turned the audience into fans of this singer. Her Cherubino rather approaches the page Octavian from R. Strauss's The Cavalier of the Rose, and, I think, this is not just a subjective association.
THE QUEEN OF SPADES: Polina
Classical music news (March 2020), music critic Alexandr Matusevich
Katarina Lukash turned out to be a wonderful Polina – slender, majestic, elegant: her strong, cold mezzo pleased with the evenness and some special significance of its sound.
RIGOLETTO: Maddalena
Classical music news (November 2021), music critic Tatyana Elagina
Maddalena, in a red and green dress of a sutler, Ekaterina Lukash - a spectacular blonde and a sonorous mezzo.
Press Service

Representation:
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