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All of Dina Kuznetsova's professional activities are arranged through IMG Artists. General Management:
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ReviewsFalstaff (Alice Ford) "I liked the Alice Ford of Dina Kuznetsova: [the voice] has natural warmth and her musical phrasing was excellent"
"Dina Kuznetsova, meanwhile, is a delightful tour de force as an Alice who radiates good-natured intelligence. (Glyndebourne Festival Opera, "Falstaff" )"
Eugene Onegin (Tatyana) "Soprano Dina Kuznetsova…is a brilliant Tatyana from her first entrance. She takes the famous Act 1 "Letter Scene" by the throat and as a singer and actress never lets it go physically, vocally or emotionally."
"the Russian-born soprano [developed] a Tatyana of affecting vulnerability, poignancy and grace. The Ryan Center alumna gave the extended Letter Scene everything she had, refining the voice to a silvery sliver, soaring in rapturous song. It will be difficult to forget the exquisite diminuendo she sustained in the final scene."
"Dina Kuznetsova sang gloriously as Tatyana, her honeyed lyric soprano glowing and idiomatically responsive to text and music alike. The Letter Scene was beautifully done and earned a huge ovation from an appreciative audience. (Lyric Opera of Chicago, "Eugene Onegin" )"
"As Tatyana, Dina Kuznetsova augmented her fine musicianship with an earnestness and sincerity that made her role as believable as Hvorostovsky's Onegin. Kuznetsova's phrasing was remarkable in both expressing the music and shaping the text. Her range of dynamics, articulations, and vocal color gave the familiar number a rare sense of dimensionality - in fact, the audience for this Lyric premiere almost seemed to breathe with her in this scene, and burst into an almost instantaneous applause at its conclusion. (Lyric Opera of Chicago, "Eugene Onegin" )"
"Eugene Onegin's emotional centerpiece is the so-called "letter scene" in Act 1. When the youthful Tatyana pours out her love, in writing, for Onegin, Kuznetsova handles this lengthy aria beautifully. Later, Kuznetsova is equally as convincing in her rejection scene. (Lyric Opera of Chicago, "Eugene Onegin" )"
"Dina Kuznetsova proved an abundantly satisfying Tatyana. The letter aria was impulsive and girlishly rendered, and a finely calibrated diminuendo in the final scene was one of the vocal glories of the evening. (Lyric Opera of Chicago, "Eugene Onegin" )"
Magic Flute (Pamina) "Dina Kuznetsova, an outstanding Pamina, is blessed with a beautiful sound and an expressive sensibility. (San-Francisco Opera, "Magic Flute" )"
"Soprano Dina Kuznetsova was a poignant Pamina, her dark, sumptuous tone lending an air of majesty to the performance. (San-Francisco Opera, "Magic Flute" )"
Gianni Schicchi (Lauretta) “The only pause for breath is Lauretta’s song, showcasing the lovely Dina Kuznetsova in an auspicious Royal Opera debut.”
“Dina Kuznetsova gives a delightfully supple account of O mio babbino caro”
“Fresh young voices like those of Saimir Pirgu and Dina Kuznetsova as the young lovers brighten the ensemble.”
" The performances are superb. Russian-born soprano Dina Kuznetsova is sparky and winsome as Schicchi's daughter Lauretta, and she sings ``O mio babbino caro'' with winning charm. "
Romeo et Juliette (Juliette) "Soprano Dina Kuznetsova ran away with the opera Saturday, singing with a supple line, silvery lyricism and refined ornamentation that illuminated Gounod's gossamer French idiom the way a sunbeam reveals the delicate intricacies of a spider web. She glided gracefully through the opera but with enough backbone and stamina to morph from girlish teen to an erotically awakened woman willing to give her life for love. (Michigan Opera Theatre, Romeo and Juliet)"
"Some of the singers are exeptional in all respects, one of them being Juliet, performed by Russian-American singer Dina Kuznetsova on opening night. She manages to convince the audience of her youth as well as her emotional sincerity (Michigan Opera Theatre, Romeo and Juliet )"
“The Lyric’s typically excellent cast is headed by Russian soprano Dina Kuznetsova…In addition to her several duets with Romeo, Kuznetsova delivers a poignant “Amour, ranime mon courage” as she takes the sleeping potion in Act 4.”
"Both Kuznetsova and Polenzani sang splendidly, and their blending of voices, always secure, made the refinements of Gounod's vocal writing fall gracefully on the ear…Kuznetsova matched him [Polenzani] with the freshness and radiance of her singing, notably in a Waltz Song that was as commanding as it was charming. She and Polenzani brought affecting intensity to their final duet, Romeo reaching out to Juliet as she expired on her tomb. You could feel their young lives draining away as they sang."
Rigoletto (Gilda) "There is, within a soprano's reach, a sequence of sounds, absolutely pure tones, which elevate and inspire. Dina Kuznetsova's voice rose to that pitch and stayed, beauteously poignant. Especially moving was her duet with her father, Rigoletto, played by the impeccable and masterful baritone, William Stone. Kuznetsova sang so beautifully, her voice reminded me of Maria Callas singing Saint Saens' "My Heart Moves at the Sound of His Voice" from Sampson & Dehlia, recorded live in Lisbon, Portugal. What human heart wouldn't soar when a soprano nails the tune?"
"Gilda was sung by Russian soprano Dina Kuznetsova, who at every moment embodied the grace and innocence of her character. Her voice was bell-like, shining and clear and blended smoothly in duets first with her father and later with the Duke. Her solo, the charming "Caro nome," which is sung while she still believes the Duke is a student, was a tour de force. First she sprawled on her little bed like a schoolgirl, then danced around her room, all the while displaying a thrilling vocal stamina, with runs and trills to spare"
"The prettiest voice is Dina Kuznetsova’s. She gilds Gilda’s famous "Caro nome" ("Dear name") with exquisite pianissimo trills""
"The most interesting of the principals is soprano Dina Kuznetsova, a tiny creature with a heart-shaped face that registers feeling with frightening immediacy. Her voice is particularly lovely when she sings softly, and she knows it …"
"Dina Kuznetsova's Gilda was an attractive innocent, fatally harmed by Rigoletto's obsessive protectiveness, the Duke's treachery and her own naive romanticism. Her voice had bloom and freshness…"
"Dina Kuznetsova, the star Lyric Center alumna who sings Gilda, is fully believable as a flesh-and-blood adolescent in the flush of first love, steadfast even when realizing the man she loves has repeatedly betrayed her."
"Dina Kuznetsova displayed a lovely messa di voce as Gilda, her youthful instrument underlining a more lyric approach than the too-frequently-encountered coloratura doll."
"Kuznetsova perfectly captured Gilda's girlish innocence, both in action and singing, and her earnest dedication to her father. Her brightest-shining moments were, predictably, in the second act, though they were as much in touching duets with Dobber and Lopardo (pretending to be a penniless student suitor) as in "Caro nome" ("Dear name in my heart"), the coloratura tour de force which fulfilled its traditional role as a show-stopper. The contrast between her bubbly girlishness with Dobber and lyrical passion with Lopardo captured the essence of a budding teen."
"Soprano Dina Kuznetsova, as Rigoletto's virginal daughter Gilda, was the strongest of the cast members. She is more a lyric than a coloratura soprano, and avoided a few of the high notes usually taken by more agile Gildas. Yet, she used her beautiful pianissimo to great effect, particularly in the final duet with Rigoletto. She was also a convincing actress, portraying a sympathetic and believable heroine."
"Dina Kuznetsova was a charmingly girlish Gilda and she looked the picture of innocence in her pretty pink dress. She has a significant vocal talent, too, as was evident when she sang the pyrotechnics of the 'Caro nome' and when her voice soared over the ensembles."
La Traviata (Violetta)
"Dina Kuznetsova, making her debut in the role of Violetta, was impressive. It's a voice with a certain amount of meat in it, and she used it with intelligence and dramatic flair."
"When soprano Dina Kuznetsova begins singing, all the tawdriness of the sets vanishes, every vice becomes a virtue. That, of course, is why opera still thrives. A voice like Kuznetsova's, young and fresh and supple, sparkling with flashing brilliance, capable of power without harshness, with a softness that is still clearly audible, and with room to grow into a great instrument, is what brings audiences into the hall."
"The role of Violetta represents one of the supreme vocal and dramatic challenges to an opera singer. The Lyric's Dina Kuznetsova is a lyric soprano who comes into her own in the quiet, intimate passages, singing the great duet of renunciation in the second act and nearly all of the death scene with glowing tones, strength of feeling, and delicacy of expression."
"Russian soprano Kuznetsova seemed to inhabit Violetta’s persona with her extraordinary command of one of opera’s most challenging roles. A singing actress of remarkable gifts, Kuznetsova used her supple, lustrous soprano with polished technique and resourceful, expressive nuance. Her voice rang strongly and accurately without a hint of wobble throughout the evening and she showed individuality of phrasing and detail. No vocal demands seemed beyond her, from the coloratura acrobatics and high notes of Act I to the dramatic confrontations of Act II and the Act III death scene in which she artfully used a voice drained of color. And Kuznetsova seemed able to sing from any physical position. For example, she began the Act I bravura aria ‘‘Sempre libera’’ while sitting and daringly ended it by slowly retreating, back to the audience, to the rear of the stage. At the end, she made you want to weep for Violetta’s plight, ending with a dramatic dying fall to the floor."
"Soprano Dina Kuznetsova was compelling as Violetta Valery, her big, beautiful voice capable of negotiating both intricate coloratura passages and bel-canto legato. "
"Dina Kuznetsova steals the show in Verdi's, La Traviata, performed by the Boston Lyrical Opera. As the courtesan, Violetta Valery, Kuznetsova moves, sings, and acts with such talent that to define what she does as a performer is tantamount to defining what makes Monet such a great painter. It is impossible to know if Kuznetsova is moving or dancing, singing or speaking, acting or being when she performs. She is beautiful. Her voice is an endless tap. She has brilliant stage presence. Kuznetsova sets the tone of the performance; when Violetta is happy, the audience is happy; when Violetta is sad, the audience is sad. Kuznetsova is humble too; she acquiesces when Violetta is not the center of attention. Best of all, Kuznetsova is entirely convincing; she is Violetta. "
" Kuznetsova created a harrowing portrait that was subtle, elegant and touching. In the opera’s final act, she became both ghost and angel; as she struggled to catch her breath, the audience held theirs. Vocally, Kuznetsova met the role’s demands with command and true presence. She tossed off the coloratura with brilliance and agility, and in Act II’s “Dite alla giovine” and “Alfredo, Alfredo, di questo core” she called up a reservoir of deep feeling, longing and emotional fragility."
"Kuznetsova's extraordinary vocal range and power - she tosses off cadenzas as casually as earrings after a long night out partying, while moments later she belts out anguished yelps when forced to part from her unrivaled lover - merely leads this production's many splendid charms. "
The Cunning Little Vixen (Vixen) "Singing firmly and with some fluency, Dina Kuznetsova gave a winning performance in the title role, effectively delineating the Vixen’s freely independent spirit and bewitching femininity, although in a very few places orchestral density won aural dominance over her silvery lyric soprano."
"Dina Kuznetsova has a captivating personality which recently wowed the hearts of the city of Chicago when she sang the title role in the Lyric Opera’s production of The Cunning Little Vixen."
"Russian lyric soprano Dina Kuznetsova is adorable as the Vixen. She can act and sing, and is able to carry off the tortuous high tessitura of the role with astonishing ease. She is clearly a talent on a meteoric trajectory."
"Kuznetsova brought a strong soprano and nimble antics to the role of the Vixen."
"Soprano Dina Kuznetsova, as the vixen, is his nemesis and inspiration. Her arias are like heightened folk songs. Kuznetsova lavishes upon them subtle colors, pliant dynamics and a legato that binds the notes into melodies as palpable as flesh and earth."
"With her luscious, wide-ranging soprano, Kuznetsova makes an irresistibly feisty and charming Vixen, agile of limb as well as voice, scurrying around without missing a beat of her music; this is her great breakout role at Lyric."."
I Capuleti ed I Montecchi (Juliet) "It was easy to believe this Juliet’s distress, as Dina Kuznetsova poured out her emotions in a stream of melody and coloratura that was a joy to hear."
" "She sings with elegance and imagination... and her Juliet is a dream."
"As Juliet, young Dina Kuznetsova proved a wonderful discovery, adding a whole repertoire of pathos-laden period airs and graces to her exquisitely tinted vocalisation and delicate phrasing, playing out the role as if in a fully-staged performance. "
Other Acclaim "Soprano Dina Kuznetsova, accompanied by Derek Han, was a splendid soloist, singing with fervor and beautifully judging the small hall's acoustics -- each vocal attack was scaled for maximum impact without a hint of oversinging."
"There can be no doubt Dmitri Shostakovich's "Seven Romances on Poems by Aleksandr Blok" was familiar to almost no one in the audience. Yet the power of this lean and intense music, setting poetry of great tragic weight, held us transfixed as various combinations of instruments shared the stage with a dark and powerful Russian text conveyed by a soprano voice.
"With the first two notes out of her made-for-singing mouth, soprano Dina Kuznetsova absolutely wowed SummerFest listeners. The first was mellow midrange springboard, and the second, a melting, high pianissimo.With the first two notes out of her made-for-singing mouth Aug. 11, soprano Dina Kuznetsova absolutely wowed SummerFest listeners. The first was mellow midrange springboard, and the second, a melting, high pianissimo."
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