Olesya Petrova was born and studied in Saint Petersburg. She graduated from State Rimsky-Korsakov Conservatoire in 2008, class of Professor Irina Bogacheva.
Future projects include Amneris in Aida at the MET, ROH Covent Garden and Arena di Verona as well as Azucena in Il Trovatore, Ulrica in Un Ballo in maschera, La Frugola in Il Tabarro and Madelon in Andrea Chénier at the MET, Jezibaba at Opera de Wallonie, Damnation de Faust with the RTVE Orchestra Madrid, Mahlers 8th Symphony in Tokio and Amsterdam, among others.
Most recent engagements include Sorceress in The Fiery Angel at Teatro Real, Ulrica at DOB Berlin, Amneris and Suzuki at ROH London, Azucena at Metropolitan, Verdi Requiem at NHK Tokyo opera among others. Recent projects include Ulrica at Teatro de la Maestranza, Amneris in Aida at Arena di Verona San Diego, Boston and MET, Princesse de Bouillon at Deutsche Oper Berlin together with Anna Netrebko, Azucena in Il Trovatore, Federica in Luisa Miller at MET.
Other engagements include Verdi Requiem with Teatro San Carlo di Napoli and with Mehta at Israel Philharmonic orchestra in Tel Aviv, Amneris and Ulrica at the Met, Azucena in Firenze and at Opera Østfold, Verdi requiem with Noseda, Amneris at New Zealand Opera Auckland, as well as Polina at Bolschoi theater, Azucena/Trovatore at Firenze and Oslo Opera houses, Amneris/Aida, Ulrica/Ballo in Maschera and Federica/Luisa Miller at the MET, Arena di Verona and Montreal, Mozarts Requiem with Shanghai Symphony orchestra, Carmen in Gyori, Hungary, Amelfa/The Golden Cockerel at Teatro Real de Madrid, Federica at Teatro Verdi di Trieste, Emilia/Otello at Liceu de Barcelona, Verdi’s Requiem under Fabio Luisi and danish Symphony Orchestra, and under Placido Domingo with the Danish Radio Symphony Orchestra in Copenhagen, Santuzza and Ulrica at Mikhailovsky Theater st Petersburg.
In 2015 she performed Tales of Hoffman at the MET in New York, Verdi Requiem at Théâtre des Chatelet in Paris, Beethoven’s Missa Solemnis with David Robertson in Sydney and Charlotte/Werther at Teatro Verdi di Trieste.
Earlier had her Debut as Madelon/Andrea Chenier at the Metropolitan Opera, Azucena at the Latvian National Opera and Fenena/Nabucco at Opéra de Montreal, among others. 2014/2015 and later returns to MET for mother in Le comtes de Hoffmann as well as to Staatsoper Hamburg for Federica in Luisa Miller and the mezzo part in Ivan the Terrible with Oviedo Filarmonía, Ulrica/Ballo in Maschera at Deutsche Oper am Rhein Düsseldorf, Suzuki/Butterfly at Greek National Opera, Mrs. Sedley/Peter Grimes at Hamburg State Opera, and Requiem di Verdi in Sydney.
Olesya Petrova has been a soloist with the St.Petersburg Conservatory Opera Theatre. She is a prize winner at the XI International Tchaikovsky Competition (Moscow, 2007, 2nd prize) and the International Competition of Galina Vishnevskaya (Moscow, 2006, 2rd prize). In 2011 she reached the final in Cardiff Singer of the World.
Amneris Metropolitan Opera 2022
Moore’s nemesis was Olesya Petrova repeating her fine portrayal which I’d seen opposite Sondra Radvanovsky during the previous “final” run. Her firmly pungent mezzo, while not large, evoked the princess’s haughty privilege and desperate vulnerability with equal force.
Luisa Miller – Metropolitan Opera
«Olesya Petrova made one wish to hear her dark, well-integrated tone in more crucial roles.»
Luisa Miller – Metropolitan opera
«The warm-toned mezzo-soprano Olesya Petrova (as Federica, the noblewoman who loves Rodolfo) meets her role’s most important requirement: She strides commandingly down the gigantic staircase of Santo Loquasto’s sturdily old-fashioned set.»
Aida – Opera de Montreal
So it was on this occasion, owing to the services of mezzo/contralto (as she was officially designated in the program) Olesya Petrova, a vivid vocalist at all volumes.
Andrea Chenier – Metropolitan opera New York