Yana Kleyn, soprano


“A soft veiled sound in her voice as well as red-hot glow à la Visjnevskaya“
“Her singing here was a revelation, unforced, unexaggerated and the loveliest pianissimo singing imaginable “
“must be among the greatest interpreters of Mimì in the world.”

The Danish-Russian soprano Yana Kleyn was born in Moscow and was educated as a pianist at the Russian Music Academy Gnesins in Moscow. In 2006, she entered the Gnesins as a singer and in 2012 she finished her master’s degree from The Academy of Music and Dramatic Arts, Denmark, where she also lives today.

Her recent and future engagements include debut as Cio-Cio san in Madama Butterfly at the Immling Festival, Mimì at the Royal Opera in Copenhagen, Lisa in Queen of Spades, Nella in Gianni Schicchi and the title role in Suor Angelica at Royal Opera Stockholm, Rusalka at Opéra Théâtre de Metz, Tosca and Giorgetta in Il tabarro in Denmark and role debut as Aida at Opera Hedeland.

In past seasons she has appeared at Stockholm Royal Opera singing Mimì with José Cura as stage director; Mimì at Oper Köln, Desdemona in Otello at the Savonlinna Festival, Mimì at Opéra de Metz Métropole marking her debut in France, Rachel in F. Halévy’s La Juive in Konstanz, Mussorgsky’s Songs and dances of Death at Stockholm Concert Hall, Michäela at Opera Hedeland in Denmark, and Mimì at Copenhagen Opera Festival.

In the 2014/15 season she had her role debut as Donna Anna in Don Giovanni in Stockholm sang Mimì at Danish National Opera and Liù at Staatstheater Kassel. First part of 2015 brought her debut as Eurydice in Orphée et Eurydice in Teatro Massimo di Palermo and Ms. Jessel in Britten’s Turn of the Screw in Maggio Musicale Fiorentino.

In 2012/13, she sang Liù in Turandot with Nina Stemme, Michaëla in Carmen and Leonora in Il trovatore at the Royal Opera Stockholm. Britten’s War Requiem with Aalborg Symphony Orchestra and Copenhagen Philharmonic and Dvorak’s Stabat Mater with Malmö Symphony Orchestra were among her orchestra engagements that season.

In 2011/12 season, she performed Michaëla in G. Bizet’s Carmen at Opera på Skäret as well as Leonora in Trovatore at the Danish National Opera. Her engagements in 2010/11 marked her international opera debut outside Russia as Mimì at Opera on Skäret Festival in Sweden, and A. Berg’s Sieben Frühe Lieder with Malmö Opera Orchestra.

Opera roles

Georges Bizet

CARMEN/ Micaëla

Benjamin Britten

PETER GRIMES/ Ellen Orford

Anonin Dvorak


Christoph Willibald Gluck


Fromental Halévy

LA JUIVE/ Rachel

Ruggiero Leoncavallo


Wolfgang Amadeus Mozart


Giacomo Puccini

SOUR ANGELICA/ Sour Angelica

Pyotr Ilyich Tchaikovsky

IOLANTA/ Ioalanta

Giuseppe Verdi


Richard Wagner


Carl Maria von Weber

Concert repertoire

Alban Berg

Sieben frühe Lieder

Ludwig van Beethoven

Symphony No. 9 in D minor, Op. 125, "Choral"

Benjamin Britten

War Requiem

Antonin Dvorak


Giuseppe Verdi

MADAMA BUTTERFLY – Cio-Cio-san – Immling Festival – 2021
It is in fact the voices on stage that creates both surprise and interest, as good as they are. We first discover Yana Kleyn in Cio-Cio-San. The Russian-Danish singer was mentioned in these columns by Yvan Beuvard in September 2017, during her first performance in France as Mimi, to the point that he cited it in the title: "Yana Kleyn, a name to remember". Unfortunately, she is rare in France, favoring the Nordic and Germanic countries, with careful repertoire choices, corresponding well to her voice. Her voice is beautiful and full, the vocal technique is solid, and we particularly appreciated her short-winded diminuendos, "à la Caballé". The characterization of the character is totally convincing, from the very young woman of the beginning, her entry is quite astonishing, to the "Americanized" woman, then to the Cio-Cio-San at the end, who puts on her geisha outfit. The dramatic path is flawless, and the vocal performance follows it perfectly. "Un bel di vedremo" is no longer an aria of competition or recital, but the heartbreaking cry of a wounded woman who is finally beginning to perceive her fate. More than flawless, a magnificent performance where the emotions always are on edge, without any of the cheap tricks that we so often hear. - Jean-Marcel Humbert
MADAMA BUTTERFLY – Cio-Cio-san – Immling Festival – 2021
Orpheus Magazin
Dass die Idee gar so gut aufgeht, liegt an der herausragenden musikalischen Qualität – unabdingbar für ein solch puristisches Konzept. Allen voran Yana Kleyn, die Interpretin der Cio-Cio-San, der man darstellerisch wirklich alles abnimmt. Vom 15-jährigen Mädchen zur amerikanisch gewandeten „Mrs. Pinkerton“ und einer gebrochenen Madama Butterfly am Ende des Stücks beherrscht die junge Russin die Darstellung der verschiedenen Facetten ihrer Figur meisterhaft. Dazu macht sie mit einer überragenden Gesangsleistung dem Anspruch der Titelprotagonistin alle Ehre – und die Aufführung fast zur „One-Woman-Show“. (The fact that the idea works so well is due to the outstanding musical quality - indispensable for such a puristic concept. Above all Yana Kleyn, the interpreter of the Cio-Cio-San, who really does everything in terms of acting. From 15-year-old girl to American-clad “Mrs. Pinkerton ”and a broken Madama Butterfly at the end of the opera, the young Russian masters the portrayal of the various facets of her figure masterfully. In addition, she lives up to the claim of the title protagonist with an outstanding vocal performance - and the performance is almost a "one-woman show". - Iris Steiner
LA BOHEME – Mimì – Østre Gasværk – 2019
But it was the small soprano Yana Kleyn who received standing ovations at the premiere. With an exciting voice, that has a surprising expansion, creamy, dark and big voice, she practically sounded like listening a mini-Netrebko. Under her red beret she was hiding the perfect combination of despondently sweetness and radiating a powerful vocal. Collapsed in the worn-out chairs of the Boehme’s, she carried the ending on her slender shoulders with the other singers as extras. A super strong performance. – Thomas Michelsen
LA BOHEME – Mimì – Østre Gasværk – 2019
The star is the Russian soprano Yana Kleyn, who has all qualities for the role of Mimì. With a voice of finely cut crystal, and very secure resilience the fragile, doomed Parisian is conjured in a way we will not soon forget. - Peter Johannes Erichsen
LA BOHEME – Mimì – Østre Gasværk – 2019
…Yana Kleyn as the weak seamstress Mimì, the absolute central figure of the opera, and each of her phrases are shining in competition with the moon. In the same way as her Michaëla at Opera Hedeland this summer, Yana Kleyn has a formidable ability to project the weeping, love and desperation with her voice. Kleyn must be among the greatest interpreters of Mimì in the world. – Casper Køller
LA BOHEME – Mimì – Østre Gasværk – 2019
Ascolta Opera Magasin
A true rising star is Yana Kleyn, who deeply touched us with her sweet and loving Mimì, who really did not deserve to die. Her voice is wonderfully transcending to the deeply touching. – Kim Reich
LA BOHEME – Mimì – Østre Gasværk – 2019
The slender Yana Kleyn of Russian origin, with a soprano that effortlessly catches everything from shy advances at the Boehme’s, over the exuberant wildness of the café, to soprano sighs at the atelier where she gets some warmth on her deathbed. – Gregers Dirckinck-Holmfeld
CARMEN – Michaëla – Opera Hedeland – 2019
Yana Kleyn’s Michaëla convinced with a emotion filled sound, vocal technique to perfection and an accurate interpretation of the character that made us feel the pain of Don José’s abandoned girlfriend. – Rie Hammer
Press Service

(c) Nicole Richter

(c) Nicole Richter

(c) Nicole Richter

(c) Miklos Szabo

(c) Miklos Szabo