About Ekaterina Gubanova

See 11 performances featuring Ekaterina Gubanova

Voice type: Mezzo-soprano

Future engagements in our database:

Fricka in Das Rheingold (Teatro alla Scala)

Princess Eboli in Don Carlos (Teatro alla Scala)

Past performances in our database:

Brangäne in Tristan and Isolde (Deutsche Oper Berlin, 2012)

Brangäne in Tristan and Isolde (Staatsoper Berlin, 2010)

Brangäne in Tristan and Isolde (Bavarian State Opera, 2011)

Brangäne in Tristan and Isolde (Staatsoper Berlin, 2012)

Fricka in Die Walküre (Teatro alla Scala, 2011)

Fricka in Die Walküre (Teatro alla Scala, 2010)

Fricka in Die Walküre (Staatsoper Berlin, 2011)

Fricka in Das Rheingold (Staatsoper Berlin, 2012)

Fricka in Das Rheingold (Staatsoper Berlin, 2013)

Fricka in Die Walküre (Teatro alla Scala, 2010)

Fricka in Die Walküre (Staatsoper Berlin, 2013)

Fricka in Die Walküre (Staatsoper Berlin, 2012)

Giovanna in Anna Bolena (Metropolitan Opera, 2011)

Giulietta in Tales of Hoffmann (Metropolitan Opera, 2010)

Giulietta in Tales of Hoffmann (Metropolitan Opera, 2009)

Lyubasha in The Tsar's Bride (Royal Opera, 2011)

Nicklausse in Tales of Hoffmann (Opéra de Paris, 2010)

Nicklausse in Tales of Hoffmann (Teatro alla Scala, 2012)

Princess Eboli in Don Carlos (De Nederlandse Opera, 2012)

Princess Eboli in Don Carlos (Staatsoper Berlin, 2012)

Princess Eboli in Don Carlos (Metropolitan Opera, 2011)

Read our reviews

Date and venue	Title
30-Mar-2013 Barbican Centre: Hall	Gergiev and the LSO in Brahms and Szymanowski choral works
I don’t think Valery Gergiev has ever been out to claim that Brahms and Szymanowski were particularly similar composers. I certainly hope he hasn’t, at any rate, on the basis of his final LSO programme pairing the two of them. But that’s not to say they don’t make an intriguing match, and this meeting of the Pole’s Stabat Mater (1925–26) and the German’s Requiem (1865–68) was provocative and worthwhile. Read full review...
14-Apr-2011 Royal Opera House, Covent Garden	Not that sort of Royal Wedding
The message in Paul Curran's new production of Rimsky-Korsakov's The Tsar's Bride is a simple one: violent and powerful men are the same in every era. And, of course, no good can result from the violence. If the opera's title made you expect a happy and light-hearted occasion, think again: it's definitely not that sort of Royal Wedding. Read full review...

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