dukach1

http://www.innadukach.com/

Russian-American soprano Inna Dukach has been praised for “an immediately appealing, youthfully rich and velvety voice.”

This season, Ms. Dukach joins the roster of the Metropolitan Opera, covering the role of Cio-Cio-San in two runs of Madama Butterfly, and creates the role of Ina in the world premiere of Steal a Pencil for Me with Opera Colorado. Last season, she appeared with New York City Opera as Zemfira in Aleko, the Russian Chamber Art Society, and joined both the Lubbock Symphony and Rochester Philharmonic as Mimi in La bohème.

The 2015-2016 season featured a debut with Florentine Opera as Rosalinde in Die Fledermaus, and the previous season included her debut with Anchorage Opera as Cio-Cio-San in Madama Butterfly, a matinee performance of that role with Atlanta Opera, and a return to Pensacola Opera as Mimì in La bohème. In concert, her schedule included a season opening gala of Russian operatic repertoire with Dayton Opera, and also a New Year’s Eve concert with the Lancaster Symphony.

The soprano’s engagements in 2013-2014 included a role and company debut with Kentucky Opera as Amelia in Simon Boccanegra, the Dvorak Stabat Mater with the Albany Symphony, and the title role in Il segreto di Susanna with Boston’s Odyssey Opera. Her 2012-2013 season saw performances of Violetta in La traviata with Opera Omaha, as well as in concert with the Harrisburg Symphony Orchestra, and Donna Anna in Don Giovanni with Toledo Opera.

Ms. Dukach made her London debut at Royal Opera House, Covent Garden as Musetta in La bohème. She was chosen to sing the role of Mimì in La bohème for two consecutive seasons at New York City Opera, and recently returned to the role for her debut with Opera Colorado. She has also appeared as the Countess in Le nozze di Figaro for Hawaii Opera Theatre; Walter in La Wally with the Netherlands Radio Philharmonic Orchestra at the Concertgebouw in Amsterdam; Pamina in Die Zauberflöte for Opera Hong Kong; Liù in Turandot for the Savonlinna Opera Festival; Tatiana in Eugene Onegin with Opéra Lyra Ottawa; Violetta in La traviata with the Croatian National Opera; Dorotea in Conte’s Don Chisciotte with the Caramoor Festival; Donna Anna in Don Giovanni with both Orlando Opera and with Opera Carolina; Xenia in Boris Godunov for San Diego Opera; and Caroline Gaines in Margaret Garner with Opera Carolina. Previous seasons also included debuts with the Israeli Opera, as Nedda in Pagliacci; Dayton Opera, as Mimì in La bohème; Pensacola Opera, for her role debut as Cio-Cio-San in Madama Butterfly; New Orleans Opera, as Nedda and the soprano soloist in Carmina Burana; Opera Colorado, as Rosalba in Daniel Catán’s Florencia en el Amazonas; and the Jacksonville Symphony Orchestra, as Mimì.

She made her Alice Tully Hall debut with the American Symphony Orchestra as Aljeja in Janácek’s From the House of the Dead, and her Carnegie Hall debut in a program of Rutter’s Magnificat and Vaughan Williams’ Dona Nobis Pacem. Other concert highlights have included a concert of Gluck arias with Opera de Oviedo in Spain; the Beethoven Missa Solemnis with the Hartford Symphony; Strauss’ Vier Letzte Lieder with Theater Pforzheim in Germany; Songs of Yiddish Poetry, as well as the Verdi Requiem with the Brooklyn Philharmonic; the Dvorak Stabat Mater and Brahms Requiem with the Greenwich Choral Society; the Mozart Requiem with the Saratoga Choral Festival; Beethoven’s Ninth Symphony with the Smith College Orchestra at Carnegie Hall; and Barber’s Knoxville: Summer Of 1915 with Bay Shore Lyric Opera.

Inna Dukach received her Master’s Degree in Vocal Performance from Mannes College of Music, and her Bachelor’s Degree from Smith College.

Florentine Opera – Die Fledermaus

Soprano Inna Dukach sang with power and ease, creating an elegant, manipulative Rosalinde.”

Elaine Schmidt, Milwaukee Journal Sentinel

Kentucky Opera – Simon Boccanegra (Amelia Grimaldi)

“Dukach’s sustained notes hover beautifully and she sings with a graceful fluidity that briefly elevates the overall heaviness of the story.”
Selena Frye, Louisville.com

Opera Omaha – La traviata

“Soprano Inna Dukach’s portrayal of Violetta seemed to grow as the opera progressed, though that likely can be attributed to the opera’s dramatic arc. Her mastery of Verdi’s vocal demands is evident throughout in her rich vibrato delivery and her seemingly effortless visits to the vocal stratosphere.”
Todd Von Kampen, Omaha World-Herald

Opera Naples – Eugene Onegin

…Dukach’s Tatiana was rock-solid, emotive and beautifully acted. The pain radiated from her face when she was forced to hear Onegin’s lecture about her childish feelings in the first act. Then it radiated just as wrenchingly in her voice when she learned his changed feelings too late, after she has married someone else.”
Harriet Howard Heithaus, Naples Daily News

New Orleans Opera – Pagliacci

Inna Dukach (who along with Moore and DiBattista did double duty in the Orff cantata) was a lovely Nedda, with a particularly attractive upper extension to her voice. A fine actress, she made Nedda a believable figure onstage and perhaps just a tad more sympathetic than usual. It is a welcome change to hear the Nedda–Silvio duet done without the customary cuts, when it is as well sung as it was here.”
George Dansker, Opera News

Ardent passion was shared between soprano Inna Dukach as Nedda, and baritone David Adam Moore’s Silvio, each of whom also brought remarkable voices to their solo roles in “Carmina Burana.” As singing actors, they also effectively conveyed the sense of conflict in their illicit love. Dukach was especially delightful handling Nedda’s famous ballatella, with all its colorful flourishes”
Theodore P. Mahne, Times-Picayune

Pensacola Opera – Madama Butterfly

Madama Butterfly has the delicate, exquisite beauty of a finely crafted figurine, and Dukach captures the opera’s very soul with a rendering of Cio Cio San that draws us into the character’s intrinsic pathos with her every facial expression and gesture.”
Pensacola News Journal

Opera Colorado – La bohème

There’s one compelling reason to see the staging of “La bohème” that opened Opera Colorado’s 28th season here on Saturday: the Mimi of Moscow-born, New York-trained soprano Inna Dukach – Dukach has an immediately appealing, youthfully rich and velvety voice that she handles with gorgeously modulated ease.”
Boulder Daily Camera

Covent Garden – La bohème (DVD Review)

Inna Dukach is a stunning Musetta.”
Michael Scott Rohan, BBC Music Magazine

Inna Dukach makes an affectionate, coquettish Musetta, acting and singing the role with focus and verve.”
Barry Brenesal, Fanfare Magazine

The rest of the casting is equally inspired, especially charismatic Russian(-American) soprano Inna Dukach’s take (on) the 19th-century Parisian party girl Musetta.”
John Terauds, Toronto Star

Inna Dukach as Musetta is a young, flirty tart rather than an all-knowing predatory tart, which freshens up the role enormously. She also pulls off a stunning subito pianissimo in the Act 2 aria…”
Alan Titherington, Myreviewer.com

Hawaii Opera Theatre – Le nozze di Figaro

And Inna Dukach… has such a beautiful voice – large, mulled-wine-warm – that it was easy to sympathize with her character. Dukach’s ‘Dove sono’ proved to be a musical high point.”
Ruth Bingham, Honolulu Advertiser

His Countess was ably portrayed by the velvety voice of Inna Dukach. The lyricism and emotional intensity of her aria ‘Dove sono i bei momenti’ in the third act captivated the audience and reminded us that ‘Le Nozze di Figaro’ is no simple bedroom farce, but conveys the melancholy of spurned love as well.”
Gregg Geary, Star Bulletin

Royal Opera House, Covent Garden – La bohème

It was, however, Inna Dukach’s portrayal of Musetta that stole the show. She earned mid-aria applause with a spell binding pianissimo in act 2, and even managed to inject some humanity into the usually shallow man-eater.”
Stephen Crowe, MusicOMH.com

Inna Dukach’s delightful Musetta (another house debut) also made a big impression… Donald Maxwell also made the most of Musetta’s doddery admirer Alcindoro, but was inevitably upstaged by Dukach’s attention-grabbing performance.”
Graham Rogers, ClassicalSource.com

Inna Dukach’s Act II Musetta was captivating and never less than in command of her music, but it was in Act IV that she really came into her own, bringing a tenderness and humanity to this rather brittle creature that is too often missed.”
Alexandra Coghlan, MusicalCriticism.com

…received excellent support from Inna Dukach – a magnificently carefree Musetta, who delivered her waltz song with an insouciance and arrogance…”
Bob Briggs, Musical Pointers

Inna Dukach was a funny Musetta with a nicely free voice.”
Colin Clark, Musicweb-International.com

 

Savonlinna Opera Festival – Turandot

The best singer (in respect of nuances) was Inna Dukach as Liù, who was exceptionally sensitive in the slave girl’s two arias…”
Göran Forsling, Musicweb-International.com

Opéra Lyra Ottawa – Eugene Onegin

[Dukach] was vocally assured and had a firm grasp of the character. The letter scene, in which Tatiana famously and unwisely pours her heart out to Onegin, was exquisite…”
Richard Todd, Ottawa Citizen

Opera Naples – La bohème

Most important, it offered an irresistible Inna Dukach as the doomed Mimi — a role she perfected in the New York City Opera … Dukach’s unaffected voicing and tonal warmth have made her a popular choice for this role, and she infused Mimi with both Friday.”
Naple Daily News

Croatian National Opera – La traviata

What is so special about this new production of Traviata? The guest soprano Inna Dukach is the genuine embodiment of Violetta. Not only is her technical output impeccable, but as anticipated she (demonstrated) a brilliant coloratura soprano. This artist is very expressive, but in an entirely subtle way. Exceptionally talented, the actress is charismatic and beautiful in a true way – with a mix of fragility, vulnerability, passion, and joy of life. Her acting is delicate and theatrical with finely measured gestures. This demanding part in her execution appears as gentle (light) gossamer because she performs it without any visible effort.”
Kontrapunkt

Opera Carolina – Don Giovanni

A successful Don Giovanni requires an accomplished, balanced cast, capable of handling comedy and tragedy – to say nothing of the vocal demands of Mozart’s brilliant score. For Opera Carolina’s production (seen March 29), general director James Meena fielded such a cast – one with no real weak link. The women were particularly effective. Inna Dukach was an attractive and youthful Donna Anna. Her voice is somewhat lighter than what is often heard in this role, but she handled the vocal demands with aplomb, demonstrating considerable power when the thrust of the part required it.”
Opera News Online

Anna, whose father dies at Giovanni’s hand in the first scene: Inna Dukach hurled vocal lightning-flashes with abandon in her revenge aria. But she also had a tenderness that revealed that Anna’s affection for her sweetheart.”
Steven Brown, The Charlotte Observer

Soprano Inna Dukach cut a fine figure as the raven-haired beauty, Donna Anna. Her lower range was firm and her voice was even and seamless as it soared up its range. The power and finesse of her voice was well displayed in the aria Or sai chi l’onore.”
William Thomas Walker, Classical Voice of North Carolina

New York City Opera – La bohème

What a cold little hand, but what warm tones…Inna Dukach was a Mimí capable of singing that was so artless as to be understated, with warm corners to a voice that moved smoothly up and down the staff and was enlisted in the service of the acting.”
Anne Midgette, The New York Times

Inna Dukach’s Mimì showed an appealing emotional vulnerability, spinning out some of the softer, higher lines (in her Act III ‘Addio,’ for example) with a pliant legato. Never appearing to reach for effects, the soprano moved easily throughout her range, with colorful shaping and shading, and had the art of making each phrase sound as though it had just occurred to her.”
George Loomis, The New York Sun

Lake George Opera – La bohème

Dukach has a voice that’s warm, lush and focused. In her opening aria ‘Mi chiamano Mimì,’ one could practically see morning light as she sang of sunshine in April.”
The Times Union

Inna Dukach as the Mimí from her first aria to her dying exhalation, inhabits the character. The voice has a deliciously scented blossom, size enough to fill any auditorium, and she colors her words and voice with artistic brilliance. She’s a comer; remember the name.”
The Troy Record

Catch golden-toned Inna Dukach as Mimì…”
Janet Choi, Opera News

San Diego Opera – Boris Godunov

Boris’ daughter Xenia, played by Inna Dukach, laments the loss of her recent bridegroom with sadness, heartbreak and a lovely timbre.”
The Voice of San Diego

Not to be overshadowed were soprano Inna Dukach (lovely as Boris’ heartbroken daughter).”
The San Diego Union Tribune

Dukach was an impressive Xenia.”
Opera Online

 

COMPOSER ROLE OPERA
Bizet Micaëla Carmen
Bizet Leïla Les Pêcheurs de Perles
Boito Margherita Mefistofele
Britten Helena A Midsummer Night’s Dream
Britten Ellen Peter Grimes
Britten Female Chorus The Rape of Lucretia
Britten The Governess The Turn of the Screw
Catán Rosalba Florencia en el Amazonas
Donizetti Adina L’elisir d’amore
Dvorak Rusalka Rusalka
Floyd Susannah Susannah
Gounod Marguerite Faust
Gounod Juliette Roméo et Juliette
Handel Alcina Alcina
Handel Cleopatra Giulio Cesare
Lehar Hanna The Merry Widow
Leoncavallo Nedda Pagliacci
Mascagni Suzel L’Amico Fritz
Massenet Manon Manon
Massenet Thaïs Thaïs
Mozart Fiordiligi Così fan tutte
Mozart Pamina Die Zauberflöte
Mozart Donna Anna Don Giovanni
Mozart Ilia Idomeneo
Mozart Countess Le nozze di Figaro
Offenbach Antonia Les contes d’Hoffmann
Puccini Lauretta Gianni Schicchi
Puccini Mimì La bohème
Puccini Cio-Cio-San Madama Butterfly
Puccini Magda La rondine
Puccini Liù Turandot
Rossini Mathilde Guillaume Tell
Rossini Corinna Il viaggio a Reims
Strauss, J. Rosalinda Die Fledermaus
Strauss, R. Arabella Arabella
Stravinsky Anna Trulove The Rake’s Progress
Tchaikovsky Tatiana Eugene Onegin
Tchaikovsky Iolanta Iolanta
Verdi Violetta La traviata
Verdi Desdemona Othello
Verdi Amelia Simon Boccanegra
Barber Knoxville: Summer of 1915
Beethoven Missa solemnis
Beethoven 9th Symphony
Brahms Requiem
Dvořák Stabat Mater
Fauré Requiem
Kodály Te Deum
Moazrt Requiem
Rachmaninoff The Bells
Rachmaninoff Vocalise
Rutter Magnificat
Strauss Four Last Songs
Vaughan Williams Dona Nobis Pacem
Verdi Requiem

To purchase the DVD of La bohème from Royal Opera, Covent Garden: La bohème – Covent Garden