MLADA KHUDOLEY

Reviews

Turandot, Bregenzer Festspiele
July 2015

Mlada Khudoley is an icy princess, who is a mystery to herself yet is able to show this with human nuances.
Frederik Hansen, Der Tagesspiegel, 24 July 2015

Mlada Khudoley’s eccentric dramatization of Turandot was presented wholeheartedly on stage, all the more convincing because her vulnerability did not disappear behind the usual costume, but kept its human personna. 
Daniel Ender, Der Standard, 23 July 2015

Mlada Khudeloy possesses the necessary focus for the role of Turandot as and axe-wielding femme fatale.
Wiener Zeitung, 23 July 2015

Mlada Khudoley’s Turandot … is a spinto soprano with unmistakable mezzo colours, pushing into the extremely dramatic Fach. She uses that colouring particularly in the psychologically enthralling riddle scene in the second Act. Even In the unbridled contest for the high notes, she gives nothing up to her tenor partner Riccardo Massi.
Christian Wildhagen, Neue Zürcher Zeitung, 24 July 2015

Mlada Khudoley had equal focus and shine for the title role, one of the hardest operatic roles there is.
Hans Klaus Jungheinrich, Frankfurter Rundschau, 23 July 2015

         Les Troyens, Festspielhaus Baden-Baden July 2015

...Mlada Khudoley’s Cassandra is still intense and magnificent with commitment and expressiveness.
Pierre-Emmanuel Lephay, Altamusica
Mlada Khudoley has equally clear diction and brings a lot of delicacy and passion as well as a beautiful nuance to the complex role of Cassandra...
Catherine Jordy, Forum Opera
        Turandot, title role (Manitoba Opera)
April 2015

Moscow-born soprano Mlada Khudoley ... reaffirmed her status as an operatic force of nature. Her dramatic intensity seemed only to grow with each passing scene, from her first "teaser" entry where, veiled and silent, she perches atop sky-high scaffolding, to her final duet Del primo pianto, in which she confesses her love to Calaf. The mesmerizing emotional trajectory that sees her melt from a stony, cold princess to a deeply wounded woman hiding behind pride and power is masterful. Khudoley's powerhouse vocals stand out, especially when she poses the three riddles to Calaf during Act II's pivotal scene. ... The audience certainly seemed to agree, clearly melted themselves by the cast's performances - especially Khudoley's - springing to their feet at the end in a rousing standing ovation with cries of bravo.
Holly Harris, Winnipeg Free Press

“Khudoley conveys Aida’s unending turmoil with great beauty. Her voice is remarkable, and it’s put to the test in Act III when Aida’s forced to betray her beloved Radames, lest her father disown her.” – Andrea Warner

“This Aida ranks as one of the most musically impressive Vancouver productions of Verdi in recent memory. Much of the heat is generated by soprano Mlada Khudoley’s spectacularly assured performance in the title role. Her big technique, bigger voice, and all-or-nothing delivery define the passions of her larger-than-life character. Her range of colours, deft shifts in dynamics, and identification with her role make for considerable complexity and depth…Khudoley’s outsized talent is complemented by an unusually strong cast.” - David Gorden Duke
Globe and Mail – April 23, 2012

Khudoley offered a solidly strong voice that made it clear why she is one of the prime Salomes of her generation. She has just the right measure of delicacy and power for the exacting role, while also being a fine actress to bring the menacing character to life.   She has an exquisitely powerful and expressive voice, one that kept blossoming with increasing richness throughout the course of the performance.  As an actress, she captured the character well; a petulant, spoiled child at first, transforming into a cunning vixen aware of her awakening sexuality and the power it has over others. Ultimately, twisted and degraded by the life within Herod’s court, she becomes a madly obsessed psychopath. By the time we reach the final moments in which the now blood-soaked anti-heroine declares that she has at last kissed the mouth of Jokanaan, her insane ecstasy remains both compelling and discomforting – as one would hope necrophilia should be!    
Theodore P. Mahne, Times-Picayune

Mlada Khudoley, Salome - New Orleans Opera, 2012 Soprano Khudoley has been performing the role of Salome since 1998, and it shows in her flawless handling of the part.  She manages to capture the energetic, obsessive sexuality of youth. Likewise, she plays the role of petulant teen denied convincingly. Of equal importance, she hits all of her notes. 
Ian Hoch - Nola Defender

'Salome': an ambitious operatic production with powerful actor as lead
Rob Hubbard
4/12/2010

“Minnesota Opera's production rests firmly upon Khudoley's shoulders. The soprano's singing is a breathtaking blend of soaring passion and dark low notes that rumble with foreboding. And her formidable acting skills make Salome's tempestuous mood swings believable, painting a sympathetic portrait of a woman driven to madness by an obsession.”
St. Paul Pioneer Press

“Mlada Khudoley is incandescent as Salome, at once perverted and sympathetic. In her final minutes she finds a macabre, necrophiliac ecstasy from which it's impossible to look away. Her high B-flats are secure, her low notes shudder-inducing.” Russian Soprano superb as Salome,
Minneapolis Star Tribune
Larry Fuchsberg
4/12/2010

“Russian soprano Mlada Khudoley delivers the supremely demanding role of Salome (two hours, no intermission) with the stamina of an adolescent. Her voice, though, is no teenager's: ripe and dark in the low range, rich and glowing as it climbs, never short of power, silky when needed.”
Globe and Mail, by Elisa Poole May 4, 2009

“But the on-stage star is, by definition, Salome. Russian soprano Mlada Khudoley’s voice is big and compelling, her performance style all-or-nothing intensity. Khudoley doesn’t shy away from her character’s brazen sexuality, nor her petulant obsessivness, but it’s by no means an unsubtle characterization. Even during the score’s riveting final moments, Khudoley dares us to look beyond Salome’s actions, to see a desperate, unloved teenager acting out on an appalling scale. It’s quite a trick, and I wouldn’t have missed it for the world.”
Vancouver Sun, May 3, 2009

“The singers were top-flight. Mlada Khudoley negotiated Salome's fierce vocal demands while projecting girlish wiles.”
By Chris Shull, February 3, 2008 Star- Telegram, Dallas

“Soprano Mlada Khudoley had fewer problems being heard as Lisa, with a voice that melded girlish sweetness and laserlike projection, and opened out well whenever the passion of Tchaikovsky's writing welled up at climactic moments.”
Washington Post, December 8, 2007

“Soprano Mlada Khudoley's elegant portrayal of the duty-bound Lisa takes a surprising turn as she abandons her caution and propriety to pursue a forbidden romance. Initially icy and repressed, she emerges as a passionate young woman ignited by her first real love, making her betrayal all the more tragic. Tempering power with restraint, Miss Khudoley's richly burnished instrument revealed great depth and range, particularly during Lisa's heartbreaking Act III aria.”
Washington Times, December 8, 2007

“And I hope the Met will hire some of the Kirov singers who were newcomers to New York. Of those I heard, the lovely, intense and vocally lustrous soprano Mlada Khudoley, who sang Sieglinde in “Die Walküre,” was the most exciting discovery.”
NY Times, Anthony Tommasini, July 21, 2007

“…the soprano Mlada Khudoley, the vocal standout of the production so far, who has a lush, sizable and luminous voice.”
New York Times, Anthony Tommasini, July 16, 2007

“Mlada Khudoley was beautiful of voice and person as Liza, full-blooded in attack, and again it was wonderful to hear Russian sung by a native speaker.” Dominic McHugh MusicOMH.com ( November 8, 2006 after Royal Opera House Covent Garden debut as Lisa in “Pique Dame”)

“And to complete a fine Russian trio at the heart of this baleful work, Mlada Khudoley (in her Covent Garden debut) summons lacerating power and seemingly inexhaustible angst as the deluded Liza, seduced by Gherman into dumping her bland Prince only to realise too late that Gherman is obsessed with the gaming-tables, not her.”
Richard Morrison in Covent Garden, London Times
November 13, 2006

“Mlada Khudoley was a sexually aggressive Sieglinde, she and Domingo making a striking couple.”
October 9, 2006 Los Angeles Times Mark Sweed

“Mlada Khudoley sang beautifully and radiantly as Sieglinde…”
October 9, 2006
Orange County Register Timothy Mangan

"Mlada Khudoley brought the same raw passion to the treacherous princess Voyslava as to her Sieglinde (Die Walküre)" 
George Loomis,OPERA Magazine
November 2004

“Soprano Mlada Khudoley was a radiant and touching Sieglinde (Siegmund’s twin sister, mother of their son Siegfried); three nights later, she performed the leading role — heroine and villainess — in a spectacular concert version of Rimsky-Korsakov’s gorgeous "magical opera-ballet" Mlada (a major source of Stravinsky’s Firebird, and also led magnificently by Gergiev), revealing her ability to sing idiomatically in both German and Russian.”
Lord of the Ring Valery Gergiev leads St. Petersburg’s ambitious White Nights Festival
BY LLOYD SCHWARTZ July 2 - 8, 2004

“Mlada Khudoley's impassioned Sieglinde is among today's best.”
Financial Times June 29, 2004 George Loomis

Die Walkure was tonight with Mlada Khudoley as a gorgeous, almond-voiced Sieglinde
James Panero, The New Criterion
06.12.2004
“netrebko shines in 'la traviata' “
by Galina Stolyarova St. Petersburg Times

"The way Mlada Khudoley, for instance, threw herself into Sieglinde's ecstasy and terror in "Die Walküre" made her about the most exciting exponent of the role since Leonie Rysanek."
New York Times, February 6, 2004

"I had the pleasure to experience Mlada Hudoley's (Khudoley) interpretation of the role of 'Sieglinde' in the performance of Die Walküre with the Mariinsky Opera, conducted by Valery Gergiev, in Baden-Baden on 26th December 2003. She is a first-class singer and actress and on that occasion she demonstrated admirably both her musicality and a stage presence to match."
Charles Kaye, adviser to the late Sir Georg Solti

“She gave an excellent and distinctive performance, vocally robust and dramatically vulnerable.”
Washington Post
November 17, 2003

“Mlada Hudoley (Khudoley) was a glorious Sieglinde, impassioned in Act I and, like any great interpreter of the role, even more riveting in Act II.”
Opera News
October 2003

“As the heroine Fevronia, Mlada Hudoley (Khudoley), triumphed, somehow sounding fresh even in unaccompanied lines after hours of challenging singing.”
Opera News
October 2003

“The cast was splendid. Mlada Khudolei brought her cool, gleaming and beautifully earthy soprano voice to the tiring role of Fevronia, which, like an Italian spinto role, requires lyrical elegance and dramatic power.”
New York Times
July 18, 2003

He was compellingly partnered by the young, bright-voiced soprano Mlada Khudolei, who missed none of Sieglinde's many opportunities for impassioned lyricism.
Opera News
June 2003

She has a big voice with a lush middle and wonderful dark hues in the lower notes; these vocal qualities, plus the fact that she retained her sound throughout this demanding role, indicate that a career as a great Wagnerian is within her reach.
Andante Classical Music
April 2003