Ekaterina Gubanova

Live from the Metropolitan Opera 19 December 2009.

Met audiences were fascinated by Mariusz Treliński’s gripping, visionary production of Wagner’s epic opera. In the daunting title roles of the doomed lovers, Nina Stemme and Stuart Skelton are passionate, overwhelming, and heartbreaking as they battle every obstacle that separates them from their true destiny. René Pape is King Marke, betrayed not only by Isolde but by Tristan, the man he most trusts and loves like a son. With Ekaterina Gubanova as Isolde’s confidante Brangäne and Evgeny Nikitin as Kurwenal, Tristan’s loyal lieutenant. Simon Rattle conducts a surging, shimmering account of Wagner’s monumental score.

Rediscover one of the world’s most famous operas with Dmitri Tcherniakov’s modern staging at the Staatsoper Berlin. Performed repeatedly at the opera, the story of Tristan and Isolde is known far and wide—a love potion, a challenge to the king, a tragic destiny—its themes have become staples of the musical repertoire.

The Queen of the Night enlists a handsome prince named Tamino to rescue her beautiful kidnapped daughter, Princess Pamina. Aided by the lovelorn bird hunter Papageno and a magical flute that holds the power to change the hearts of men, young Tamino embarks on a quest for true love, leading to the evil Sarastro's temple where Pamina is held captive. The Pierre Audi production of Mozart's Die Zauberflöte was recorded live at the 2006 Salzburger Festpiele.

Captured live from Naples’ splendid San Carlo Theatre – the world’s oldest continuously running public opera venue – where it opened the company’s theatrical season, acclaimed director Dmitri Tcherniakov stages a new production of Dvořák’s beautiful, supremely romantic opera about a water sprite Rusalka who longs to find love.

Dialogues of the Carmelites. Opera in three acts and twelve scenes by Francis Poulenc, based on the play by Georges Bernanos. Orchestra and Chorus of the Teatro dell'Opera di Roma conducted by Michele Mariotti, directed by Emma Dante.

Richard Wagner called Die Walküre the “first evening” of the Ring of the Nibelung; he called Das Rheingold the prologue or Vorabend. Musically and dramatically, we are introduced to a radically new and different world when the opening bars of Die Walküre resound. A fully developed orchestral palette of Leitmotivs paints a wild storm scene, and the curtain rises on a modest dwelling: a fully human scene that has nothing to do with the gods, dwarves and nymphs of Das Rheingold. At the same time, however, the way Die Walküre portrays radical beginnings reveals some telling reminiscences of the unfolding of Das Rheingold. Die Walküre is exciting and deeply feeling drama.

Having triumphed at the Met in some of the repertory’s fiercest soprano roles, Sondra Radvanovsky stars as the mythic sorceress who will stop at nothing in her quest for vengeance. Joining Radvanovsky in the Met-premiere production of Cherubini’s rarely performed masterpiece is tenor Matthew Polenzani as Medea’s Argonaut husband, Giasone; soprano Janai Brugger as her rival for his love, Glauce; bass Michele Pertusi as Glauce’s father, Creonte, the King of Corinth; and mezzo-soprano Ekaterina Gubanova as Medea’s confidante, Neris. Carlo Rizzi conducts.

The Wiener Philharmoniker mounts, and Andrea Breth stages, this 2007 production of Pyotr Illych Tchaikovsky's opera Eugene Onegin, starring Peter Mattei, Joseph Kaiser, Anna Samuil and Renée Morloc. The Konzertvereinigung Wiener Staatsopernchor lends added musical accompaniment, under the baton of Daniel Barenboim.

Production Bayreuth 2024. There is no arrival in Tristan and Isolde, only the longing for the unattainable, for the place “where the end of deception promised me my heart”. Two people who strive to fall out of the roles ascribed to them, to escape the supposed lies of the day. Two people suffering from life, whose declaration of love consists of wanting to restore a moment that has irretrievably passed. Two nocturnal devotees who, in their regressive desire to be uplifted and completely abandon themselves, lose touch with reality and who, in their desire to abandon their ego to another and escape their own history, ultimately fail themselves. “To long to die, not to die of longing.”

The electrifying Lise Davidsen tackles one of the ultimate roles for dramatic soprano: the Irish princess Isolde in Wagner’s transcendent meditation on love and death. Heroic tenor Michael Spyres stars opposite Davidsen as the love-drunk Tristan. Mezzo-soprano Ekaterina Gubanova reprises her signature portrayal of Brangäne, alongside bass-baritone Tomasz Konieczny, who sings Kurwenal after celebrated Met appearances in Wagner’s Der Fliegende Holländer and Ring cycle. Bass-baritone Ryan Speedo Green makes an important role debut as King Marke.

David McVicar's atmospheric and brooding production captures the drama of this riveting piece of British history, retold as only Donizetti could. International superstar Anna Netrebko is Queen Anne Boleyn, trapped in an unhappy marriage to King Henry VIII (Ildar Abdrazakov) whose roving eye has settled on another woman—Jane Seymour (Ekaterina Gubanova), Anna's friend, but now her unwitting rival. Add in Anna's early love, Percy (Stephen Costello), just returned to the court from exile, and the result is a haunting, explosive account of Queen Anna's tragic final days, before she goes to her execution in one of the most moving and dazzling final scenes in all of opera.

Conducting the Wiener Philharmoniker, Andris Nelsons presents a concert night which concentrates every conceivable passion: Bernd Alois Zimmermann’s Trumpet Concerto “Nobody knows de trouble I see” performed with “technical perfection” (Kronenzeitung) by “the fantastic Håkan Hardenberger” (Salzburger Nachrichten) and Mahler’s Symphony No. 2 in C minor “Resurrection”. “Nelsons proved to be delicate but hearty when interpreting Mahler.” (Wiener Zeitung). The conductor led the Vienna Philharmonic Orchestra to “enticingly beautiful sounds” (Die Presse). “High praise goes to the vocal soloists Ekaterina Gubanova, Lucy Crowe and the Bavarian Broadcasting choir.” (Salzburger Nachrichten)

Motivated by the love that bound him to Mathilda Wesendonck, Richard Wagner’s composition of Tristan und Isolde goes far beyond any simple operatic gesture. Peter Sellars’ production pours oil onto this troubled sea of emotions in an almost dematerialised setting bared of all earthly contingencies whilst Bill Viola presents the lovers’ initiatory quest for nirvana in videos detached from the stage, suspended like altarpieces.

This new production of Norma, directed by Grammy Award-nominated opera, theatre and film director Kevin Newbury (winner of the Irish Times Theatre Award 2010) and starring Sondra Radvanovsky as a "powerful, elegant" Norma (New York Times) and Gregory Kunde as Pollione, is "something very special. The word 'historic' is used perhaps a little too often but tonight there really is no other adjective to describe the sensational performances offered to us by Sondra Radvanovsky and Gregory Kunde."

Running through Bartók’s disenchanted tale, whose haunting music was initially condemned as unplayable, and the expression of despair in Poulenc’s monologue, the director Krzysztof Warlikowski perceives a shared dramatic thread, a shared feminine consciousness and a shared sense of imprisonment and suffocation: for the woman who penetrates the confines of Bluebeard’s castle and Elle, the woman who clings to a telephone conversation with a man as the only thing worth living for, are condemned to share the same fate. And this man she speaks to, does he really exist? Unless the director has interpreted Cocteau’s words to the letter and the telephone has become a “terrifying weapon that leaves no trace, makes no noise”…

It is about nothing less than love. This is what the Wartburg singing community asks for, and this is what Tannhäuser also seeks: he finds almost endless lust with the goddess of love Venus, and hopes to attain bliss with the "pure" Elisabeth. In his vacillation between satisfaction and renunciation, between guilt and protest, in being torn between fulfillment and exaltation, he corresponds entirely to the grammar of the Romantic age - and still speaks directly to us today.