Biography – Anna

In October 2024, Anna was honored with the Génération Opéra Prize and the Catalina Cortez Prize at
the final round of the Enesco International Competition. That evening, under the baton of Pierre-
Michel Durand at Salle Colonne, she captivated the audience with a stirring interpretation of
“Regnava nel silenzio” from Donizetti’s Lucia di Lammermoor, and “La journée heureuse,” Op. 304, by
Françoise Choveaux.
The following month, she successfully auditioned for and received a Menda Scholarship, awarded by
the jury of the Opéra-Comique.
From the age of four, Anna has been immersed in the performing arts, beginning with classical and
contemporary singing, Latin dance, and hip-hop. Her multidisciplinary passion extended to circus
arts, enriching her stage presence and sense of movement.
Her musical journey began in earnest at the Maison de la Culture, followed by admission to the
National Academy of Music of Kyiv, where she trained under Iryna Semenenko, then completed a year of
undergraduate study with Maria Bouymister. Determined to integrate voice and theatricality, she took
acting classes, convinced that an operatic performance must live fully on stage—not just in the
voice.
In 2019, Anna moved to France and was admitted to the Regional Conservatory of Paris (CRR), where
she studied under Florence Guignolet. Her vocal and artistic growth quickly led to engagements with
the Jeune Chœur de Paris, allowing her to perform in prestigious venues such as the Opéra de
Limoges, La Seine Musicale, the Philharmonie de Paris, and the Festival d’Aix-en-Provence.
Her repertoire spans composers as diverse as Ravel, Mozart, Holst, Stockhausen, and Mahler, the
latter under the baton of Esa-Pekka Salonen. Through these collaborations, she has developed a
refined and expressive vocal identity.
Anna’s solo performances include Mussorgsky’s The Nursery (Les Enfantines) with pianist Narek
Galoyan at La Seine Musicale, and Mozart arias in Un Mozart, trois da Ponte at Salle Gaveau. She
took part in a masterclass with Florian Sempey, and embodied Rosalinde in Strauss’s Die Fledermaus,
with the Orchestre Colonne, performed at Salle Colonne and the Théâtre de Rungis.
In 2021, she was awarded her Diplôme d'Études Musicales (DEM) with highest distinction and unanimous
praise, following a recital that marked a major milestone in her artistic development. For her final
exam, she staged and performed excerpts from three roles: Musetta (La Bohème), Cendrillon
(Massenet), and Ännchen (Der Freischütz)—demonstrating her range and creativity.
After four formative years at the CRR, Anna joined the Conservatoire National Supérieur de Musique
et de Danse de Paris (CNSMDP), where she currently studies in the advanced opera program under Amaya
Domínguez.
At the CNSMDP, she continues to thrive. She performed as a soloist in Bach’s Cantata BWV 3,
conducted by Joël Suhubiette, and joined the choir for Brahms' Opuses 17, 42, 64, and 92, under
Lionel Sow.
To celebrate New Year 2024, she performed Beethoven’s 9th Symphony in Luxembourg, with the Accentus
choir and the Luxembourg Philharmonic Orchestra, conducted by Laurence Equilbey, in a special
collaboration with the contemporary circus troupe CIRCA.
The summer of 2024 saw her performing the soprano solo in Rossini’s Petite Messe Solennelle at the
Temple de Passy and Église du Bon Secours, conducted by Alexandre Korovitch.
In autumn, she gave recitals of Duparc’s melodies in Fronton and at the Toulouse les Orgues
Festival, and in December, performed as the soprano soloist in Saint-Saëns’ Oratorio de Noël at the
Église de Saint-Germain-en-Laye and Église du Vésinet, with the Saint-Germain Choir, conducted by
Laudine Belliard.
In March 2025, she enriched her craft through a masterclass with tenor Simon O’Neill, and in spring,
she performed Magda in Puccini’s La Rondine with La Chambre lyrique, under the baton of Jules
Cavalié, directed by Anne-Joëlle Fleury, at the Espace Michel Fugain.
May 2025 was a particularly rich month: Anna sang as a soloist in Mozart’s Mass in C Minor and
Poulenc’s Gloria, and also performed the title role in Suor Angelica, with the Jeune Chœur de Paris,
directed by Florence Guignolet and conducted by Benoît Girault.
In June 2025, she participated in a prestigious masterclass with mezzo-soprano Isabel Leonard,
further developing her technical finesse and interpretive depth.
For Anna, music is a necessity, not a choice. The stage is her natural home, where she can embody
roles, tell stories, and give voice to emotion. While her voice and personality naturally lend
themselves to the lyric repertoire, she continuously explores flexibility and color in her
interpretation—crafting performances that are as emotionally compelling as they are vocally refined.

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