DER NEUE MERKER 04/2024
The role of Anna Bolena demands the highest standards from the soloist, not only technically, as there are difficult, often very high coloratura passages to be mastered, but also emotional nuances to be embodied that require a great deal of energy. In the Ukrainian singer Maryna Zubko, the ideal cast has been found. She effortlessly manages the high notes, has no coordination problems, easily manages the arioso passages and lends her character the passion and dramaturgy required. She presents her perfect bel canto soprano with her mad aria, in which she has to go through three phases at once – love, prayer and anger. The Theatre Ulm can count itself lucky to have such a protagonist in its ensemble.
ORPHEUS Oper und mehr 02/2024 März/April
Magnificent performance: Maryna Zubko in the title role.
It is indeed Anna Bolena who is the outstanding feature of this production, which is to be followed by Donizetti’s other Tudor queen tragedies in the coming seasons in Ulm: »Maria Stuarda« and »Roberto Devereux«. It can be taken for granted that Maryna Zubko will also take on the centre roles in these: She has at her command everything that makes an outstanding bel canto soprano. Purity of tone. Smoothness. Piano culture. Fade in and out. Furore. Great. Any state theatre and its audience would be delighted with her.
SÜDWEST PRESSE
Maryna Zubko shines in the title role of the opera “Anna Bolena”.
And it was a triumph for Maryna Zubko in the title role. The soprano sang a woman in all emotional states, in the entire vocal range from tender and intimate to the striking peak tone of pain. Yes, crazy, this endless final scene: also a great performance by Maryna Zubko. Standing ovations.
SCHWÄBISCHE ZEITUNG
Maryna Zubko impresses at the Theatre Ulm as the brilliant title heroine of Donizetti’s “Anna Bolena”
The young Ukrainian soprano Maryna Zubko mastered her murderous role with bravura. She effortlessly lets her voice float like an angel into higher spheres, but also has the potential for a powerful presence and angry outbursts.
AUGSBURGER ALLGEMEINE
Soprano Maryna Zubko in particular has everyone at her feet.
Standing ovations after three and a half hours: The action on stage is incredibly captivating and dramatic. And in the end, the audience is at Maryna Zubko’s feet, who delivers a masterful performance in the title role, both vocally and emotionally. There are coloratura passages like pain-filled screams, hatred, deepest offense, affection and forgiveness intertwine, and in the eleven-minute madness aria Maryna Zubko seems completely removed from reality.
ANTHONY PILAVACHI (DIRECTOR)
Dear Maryna! It’s only worth doing »Anna Bolena« if you have a unique singer who can sing the notes and more! You are the dream of Bolena I have always wished for!
PROF. DR. ARNOLD JACOBSHAGEN (PROFESSOR OF MUSICOLOGY AT THE COLOGNE UNIVERSITY OF MUSIC)
For Maryna Zubko with thanks for the first and best Anna Bolena since Callas! 2.2.2024 (dedication in Arnold Jacobshagen’s book »MARIA CALLAS Kunst und Mythos«)
