biography
Olga Maslova:
10 Chapters of My Life
10 Chapters of My Life
Chapter 1. Childhood. My First Attraction to the Stage
Music entered my life very early, even though there were no professional musicians in my family. Still, my passion for creativity and sound was so strong that at the age of five I was enrolled in a music and choreography school, where I studied ballet, piano, and variety singing. Yes, my path began with vocal training right from the start.
My mother once told me that after one of my first piano lessons, she was asked to come into the classroom. Galina Aleksandrovna Drugova, my teacher, said to her: “Why are you making the child suffer with ballet? She belongs there,” and pointed upward. “Where?” my mother asked, a little confused. “To the vocal department. Your daughter needs to sing.”
And that was how the story of Olya the vocalist began — with a finger pointing upward.
Then came the kind of childhood miracle that changes the way you see the world forever. At the age of six, I got my hands on a cassette recording of the musical Notre-Dame de Paris, and after that, everything changed. I understood that I wanted to dedicate my life to the stage and the theater. That production shaped my taste in music, stage presence, and singing. To this day, it remains my artistic and professional point of reference, as well as a source of inspiration.
And just two years later, another life-changing moment came: I visited the Mariinsky Theatre for the first time. From that moment on, the world of opera became part of my destiny, and my life changed forever.
My mother once told me that after one of my first piano lessons, she was asked to come into the classroom. Galina Aleksandrovna Drugova, my teacher, said to her: “Why are you making the child suffer with ballet? She belongs there,” and pointed upward. “Where?” my mother asked, a little confused. “To the vocal department. Your daughter needs to sing.”
And that was how the story of Olya the vocalist began — with a finger pointing upward.
Then came the kind of childhood miracle that changes the way you see the world forever. At the age of six, I got my hands on a cassette recording of the musical Notre-Dame de Paris, and after that, everything changed. I understood that I wanted to dedicate my life to the stage and the theater. That production shaped my taste in music, stage presence, and singing. To this day, it remains my artistic and professional point of reference, as well as a source of inspiration.
And just two years later, another life-changing moment came: I visited the Mariinsky Theatre for the first time. From that moment on, the world of opera became part of my destiny, and my life changed forever.
Chapter 2. Variety, Academic Training and Artistic Exploration
By the age of twelve, I was already professionally involved in variety singing. Our children’s show group actively performed on city and regional stages and staged productions at the music school. This was a very important experience for me, because it was then that I became accustomed to the stage, to performing before an audience, and to the constant, unstoppable movement forward.
Later, an academic vocal department opened at my music school, and that became a new stage in my development. It was led by Olga Leonidovna Maksimenko, a soloist with the Voronezh Opera and Ballet Theatre. She introduced me to the world of classical music and academic singing. She was not just a teacher, but a true artistic mother. Her unwavering dedication and love for her profession still inspire and guide me to this day. Her support during my student years helped me through many difficulties. I would say she was the most important vocal teacher in my life, and a deeply valued person to me. I studied with her for five years, and then entered the Academy of Arts, where I majored in vocal performance. I was only seventeen.
At the same time, I was drawn to a wide range of musical and artistic fields: from rock and ethnic music to historical and contemporary dance, from 13th- and 14th-century reconstruction to anime culture, the film industries of different countries, and fashion design. Naturally, all of these interests broadened my artistic range, sharpened my eye, and gave me a vivid and varied life experience. And today, all of that helps me create stage characters and images.
Later, an academic vocal department opened at my music school, and that became a new stage in my development. It was led by Olga Leonidovna Maksimenko, a soloist with the Voronezh Opera and Ballet Theatre. She introduced me to the world of classical music and academic singing. She was not just a teacher, but a true artistic mother. Her unwavering dedication and love for her profession still inspire and guide me to this day. Her support during my student years helped me through many difficulties. I would say she was the most important vocal teacher in my life, and a deeply valued person to me. I studied with her for five years, and then entered the Academy of Arts, where I majored in vocal performance. I was only seventeen.
At the same time, I was drawn to a wide range of musical and artistic fields: from rock and ethnic music to historical and contemporary dance, from 13th- and 14th-century reconstruction to anime culture, the film industries of different countries, and fashion design. Naturally, all of these interests broadened my artistic range, sharpened my eye, and gave me a vivid and varied life experience. And today, all of that helps me create stage characters and images.
Chapter 3. An Inner Turning Point
Before my final year, I went through an important inner crisis. It turned my whole world upside down and changed everything completely. I was so shattered that I lost my ability to sing. It was very frightening… But I have never been the kind of person who gives up or lets go of the dreams I truly want. As Nietzsche said, “That which does not kill us makes us stronger.” This is my life credo.
I took a break from my studies in order to recover. During that time, I completely rethought my life, my principles, my goals, and my values. For me, this stage was not a stop, but a moment of inner growth. I am grateful to fate for that period, because it helped me approach my profession with greater awareness, deeper respect for my path, and a stronger sense of responsibility toward music. I was able to build a new relationship with my profession and with myself. Around the same time, I began studying foreign languages and became interested in psychology.
I took a break from my studies in order to recover. During that time, I completely rethought my life, my principles, my goals, and my values. For me, this stage was not a stop, but a moment of inner growth. I am grateful to fate for that period, because it helped me approach my profession with greater awareness, deeper respect for my path, and a stronger sense of responsibility toward music. I was able to build a new relationship with my profession and with myself. Around the same time, I began studying foreign languages and became interested in psychology.
Chapter 4. Return and First Debut
After a six-month break, I returned to my studies, resumed my fifth year, and graduated from the Academy of Arts with honors. I prepared for my first debut on a real opera stage — my graduation performance in a leading role. It was an extraordinary and fateful coincidence: the first opera I ever saw was Iolanta on the stage of the Mariinsky Theatre, and it was именно that same opera that became the first role with which my professional stage career began.
After graduation, I took part in a major international competition, which opened unexpected opportunities for me — opportunities I had only dreamed of.
The head of the Academy of Young Singers, L. A. Gergieva, offered me a position at the Mariinsky Theatre. I was 23 at the time, and I was just beginning my independent professional journey. Getting into any theatre was extremely difficult, and getting into the Mariinsky was a long-held childhood dream. I had planned to go to auditions at the Academy every year, stubbornly and persistently, until I was accepted. And then they invited me. What is that, if not a miracle?
After graduation, I took part in a major international competition, which opened unexpected opportunities for me — opportunities I had only dreamed of.
The head of the Academy of Young Singers, L. A. Gergieva, offered me a position at the Mariinsky Theatre. I was 23 at the time, and I was just beginning my independent professional journey. Getting into any theatre was extremely difficult, and getting into the Mariinsky was a long-held childhood dream. I had planned to go to auditions at the Academy every year, stubbornly and persistently, until I was accepted. And then they invited me. What is that, if not a miracle?
Chapter 5. St. Petersburg and the Making of an Artist
I moved to St. Petersburg without a moment’s hesitation — to the city I had loved since childhood. That is hardly surprising, as it has won the hearts of countless artists. It was my first experience of independent life, and it became an important school of maturity: a new city, a new environment, a new job, and a new level of responsibility shaped in me the inner focus and energy that are essential in this profession.
During my seven years at the Mariinsky Theatre Academy, I went through a profound process of professional and personal growth. My musical priorities, repertoire, stage thinking, understanding of the profession, and my own artistic language all evolved. Here I gained invaluable experience, learned to understand opera more deeply, and found people who became close and important to me.
This period became a time of character formation, hard work, endurance, resilience, and professional maturity. I am especially grateful to this stage of my life for teaching me to value the stage, protect my inner discipline, and treat every appearance as a significant event.
During my seven years at the Mariinsky Theatre Academy, I went through a profound process of professional and personal growth. My musical priorities, repertoire, stage thinking, understanding of the profession, and my own artistic language all evolved. Here I gained invaluable experience, learned to understand opera more deeply, and found people who became close and important to me.
This period became a time of character formation, hard work, endurance, resilience, and professional maturity. I am especially grateful to this stage of my life for teaching me to value the stage, protect my inner discipline, and treat every appearance as a significant event.
Chapter 6. The Encounter That Supported My Path
In 2019, at the Glinka Competition in Kazan, I met Marina Ivanovna Mescheryakova. This meeting became not only important for me, but quite literally the most influential one in my career and in my life as a whole.
The path of a creative person is a series of crises, questions, re-evaluations, and growth — and so it goes on, in an endless spiral. At least, that has been my path. Questions can come from any area of life and can vary in depth and difficulty, and each answer triggers internal and external changes that directly affect one’s profession and career.
At one point, life asked me a very difficult question: should I continue on my professional path? It was impossible to answer that question alone. But fate has always been generous to me.
Marina Ivanovna — this remarkable woman, artist, and truly exceptional human being — gave me back my wings. She appeared at exactly the moment when I most needed experienced, wise, and kind advice. Her words that I must sing, and that this was my calling, became a powerful source of faith, inspiration, and strength to keep fighting until the end.
Every time I step onto the stage, I silently thank her for her support, her attention, and her extraordinary generosity of spirit.
The path of a creative person is a series of crises, questions, re-evaluations, and growth — and so it goes on, in an endless spiral. At least, that has been my path. Questions can come from any area of life and can vary in depth and difficulty, and each answer triggers internal and external changes that directly affect one’s profession and career.
At one point, life asked me a very difficult question: should I continue on my professional path? It was impossible to answer that question alone. But fate has always been generous to me.
Marina Ivanovna — this remarkable woman, artist, and truly exceptional human being — gave me back my wings. She appeared at exactly the moment when I most needed experienced, wise, and kind advice. Her words that I must sing, and that this was my calling, became a powerful source of faith, inspiration, and strength to keep fighting until the end.
Every time I step onto the stage, I silently thank her for her support, her attention, and her extraordinary generosity of spirit.
Chapter 7. A Turning Point
Then began a period of auditions, competitions, first meetings with agents, the pandemic, and deep inner growth. I studied a great deal, kept learning, broadened my horizons, and became interested in psychology, history, and acting. All of this helped me not only as an artist, but certainly as a person as well.
At the end of 2021, an important turning point came: I won the 10th International Opera Singers’ Competition “St. Petersburg.” An interesting fact is that, for the first time, I went on stage not with the desire to prove something, but simply with the wish to sing beautifully and share music with the audience, including the members of the jury. That changed my inner state and opened a new chapter in my life — the life of an opera singer.
After the third-round performance, the audience called me back for two curtain calls, which is extremely rare at competitions. And after the gala concert, one of the jury members even suggested that I audition for the Primorsky Stage of the Mariinsky Theatre in Vladivostok.
At the end of 2021, an important turning point came: I won the 10th International Opera Singers’ Competition “St. Petersburg.” An interesting fact is that, for the first time, I went on stage not with the desire to prove something, but simply with the wish to sing beautifully and share music with the audience, including the members of the jury. That changed my inner state and opened a new chapter in my life — the life of an opera singer.
After the third-round performance, the audience called me back for two curtain calls, which is extremely rare at competitions. And after the gala concert, one of the jury members even suggested that I audition for the Primorsky Stage of the Mariinsky Theatre in Vladivostok.
Chapter 8. Turandot and the Decision That Changed My Path
At the audition, the committee asked me a question that became decisive for me: I was asked to choose which role I wanted to begin with — Turandot or Lady Macbeth. By that time, I was already turning thirty, and my experience consisted mainly of competition performances and three performances of Iolanta on the stage of the Voronezh Theatre. It was a serious professional choice, but it is exactly such decisions that shape an artist’s path.
I was greatly helped by the support of the wonderful singer Margarita Lvovna Alaverdian, with whom we worked through both roles… and I chose Turandot!
It was a truly bold, even daring step, based not on outward confidence, but on professional intuition. It was a major risk and a great act of courage. And I cannot fully express the depth of my gratitude to all the colleagues and leaders of the Primorsky Stage who supported me, believed in me, prepared this debut with me, cared for me, and worked both behind the scenes and on stage. An artist’s appearance on stage is always the result of a very large team. But on stage, you always remain alone with the audience.
My first Turandot was like the first confession of truly sincere and deep love. It was incredibly moving to receive a response to my feelings. I trusted the stage, and it responded in kind. My debut took place on May 15, 2022, and in November of that same year I appeared on the stage of the Mariinsky Theatre in St. Petersburg for the first time — the stage I had dreamed of for many years.
I was greatly helped by the support of the wonderful singer Margarita Lvovna Alaverdian, with whom we worked through both roles… and I chose Turandot!
It was a truly bold, even daring step, based not on outward confidence, but on professional intuition. It was a major risk and a great act of courage. And I cannot fully express the depth of my gratitude to all the colleagues and leaders of the Primorsky Stage who supported me, believed in me, prepared this debut with me, cared for me, and worked both behind the scenes and on stage. An artist’s appearance on stage is always the result of a very large team. But on stage, you always remain alone with the audience.
My first Turandot was like the first confession of truly sincere and deep love. It was incredibly moving to receive a response to my feelings. I trusted the stage, and it responded in kind. My debut took place on May 15, 2022, and in November of that same year I appeared on the stage of the Mariinsky Theatre in St. Petersburg for the first time — the stage I had dreamed of for many years.
Chapter 9. Recognition and an International Path
The next important milestones in my career were becoming a laureate of the 1st Hibla Gerzmava International Competition for Vocalists and Accompanists in January 2023, and of the 17th International Tchaikovsky Competition in June of the same year. The first competition brought me several significant debuts and an invitation to take part in Nabucco at the Mariinsky Theatre. After that, I was offered the opportunity to stay in St. Petersburg. The second competition marked the beginning of my international career, which started in July 2023.
Chapter 10. Present Days
Today, I sing on beautiful stages around the world the music I truly love. I continue to work hard, constantly prepare new repertoire, and gain invaluable experience with every new project. For me, the stage remains a place of encounter with people I respect and whose artistry inspires me.
I believe that an artist’s path is one of constant movement, responsibility, and inner growth. And I know for certain that I am exactly where I am meant to be.
I believe that an artist’s path is one of constant movement, responsibility, and inner growth. And I know for certain that I am exactly where I am meant to be.
Soprano: The Journey from Voronezh
to the Major Stages of Russia and Europe
to the Major Stages of Russia and Europe
I am Olga Maslova, a soprano from Voronezh. In 2015, I graduated with honors from the Voronezh State Academy of Arts, where I studied under People’s Artist of Russia Zoya Mitrofanova-Solodilova. My stage debut took place in the role of Iolanta in the graduation performance at the Voronezh State Opera and Ballet Theatre.
I have been actively performing in concerts since 2010.
From 2015 to 2022, I was a soloist of the Mariinsky Theatre’s Academy of Young Opera Singers. I took an active part in chamber music concerts and children’s performances. I made my debut in the role of Masha (“Ivan Susanin” by C. Cavos). I participated in numerous competitions, many of which brought me prize-winning titles. I refined my vocal technique and acting skills through numerous masterclasses and continuous personal work. My repertoire includes roles such as: Violetta (“La Traviata”), Leonora (“Il Trovatore”), Aida (“Aida”) by G. Verdi; Mimì (“La Bohème”), Magda (“La Rondine”) by G. Puccini; Imogene (“Il Pirata”) by V. Bellini; Anna Bolena (“Anna Bolena”) by G. Donizetti; Nedda (“Pagliacci”) by R. Leoncavallo; Tatyana (“Eugene Onegin”) by P. Tchaikovsky, and others.
From 2022 to 2023, I was a soloist with the opera company of the Primorsky Stage of the Mariinsky Theatre. There, I debuted in the roles of Turandot (“Turandot” by G. Puccini), Micaëla (“Carmen” by G. Bizet), and Countess Rosina Almaviva (“Le Nozze di Figaro” by W. A. Mozart), among others.
In 2023, I became a prize winner of the I International Competition for Vocalists and Accompanists named after Hibla Gerzmava and the XVII International Tchaikovsky Competition.
Since 2023, I have been a soloist of the Mariinsky Theatre opera company in Saint Petersburg. Here, I debuted in the roles of Turandot (“Turandot” by G. Puccini), Giorgetta (“Il Tabarro” from Il Trittico by G. Puccini), Abigaille (“Nabucco” by G. Verdi), and Lady Macbeth (“Macbeth” by G. Verdi).
In 2023, I made my debut at the Stanislavsky and Nemirovich-Danchenko Moscow Academic Music Theatre (MAMT) as Lady Macbeth (“Macbeth”) and at Helikon Opera as Abigaille (“Nabucco”).
In 2024, I performed the role of Iolanta (“Iolanta”) at the Bolshoi Theatre.
Since 2023, I have been an artist of Ariosi Management Sagl. This marked the beginning of my international career. I have performed the following roles:
I have been actively performing in concerts since 2010.
From 2015 to 2022, I was a soloist of the Mariinsky Theatre’s Academy of Young Opera Singers. I took an active part in chamber music concerts and children’s performances. I made my debut in the role of Masha (“Ivan Susanin” by C. Cavos). I participated in numerous competitions, many of which brought me prize-winning titles. I refined my vocal technique and acting skills through numerous masterclasses and continuous personal work. My repertoire includes roles such as: Violetta (“La Traviata”), Leonora (“Il Trovatore”), Aida (“Aida”) by G. Verdi; Mimì (“La Bohème”), Magda (“La Rondine”) by G. Puccini; Imogene (“Il Pirata”) by V. Bellini; Anna Bolena (“Anna Bolena”) by G. Donizetti; Nedda (“Pagliacci”) by R. Leoncavallo; Tatyana (“Eugene Onegin”) by P. Tchaikovsky, and others.
From 2022 to 2023, I was a soloist with the opera company of the Primorsky Stage of the Mariinsky Theatre. There, I debuted in the roles of Turandot (“Turandot” by G. Puccini), Micaëla (“Carmen” by G. Bizet), and Countess Rosina Almaviva (“Le Nozze di Figaro” by W. A. Mozart), among others.
In 2023, I became a prize winner of the I International Competition for Vocalists and Accompanists named after Hibla Gerzmava and the XVII International Tchaikovsky Competition.
Since 2023, I have been a soloist of the Mariinsky Theatre opera company in Saint Petersburg. Here, I debuted in the roles of Turandot (“Turandot” by G. Puccini), Giorgetta (“Il Tabarro” from Il Trittico by G. Puccini), Abigaille (“Nabucco” by G. Verdi), and Lady Macbeth (“Macbeth” by G. Verdi).
In 2023, I made my debut at the Stanislavsky and Nemirovich-Danchenko Moscow Academic Music Theatre (MAMT) as Lady Macbeth (“Macbeth”) and at Helikon Opera as Abigaille (“Nabucco”).
In 2024, I performed the role of Iolanta (“Iolanta”) at the Bolshoi Theatre.
Since 2023, I have been an artist of Ariosi Management Sagl. This marked the beginning of my international career. I have performed the following roles:
- Abigaille (“Nabucco”) at Odeon (Athens, Greece), Teatro Verdi (Trieste, Italy), Salle Gaveau (Paris, France; Placido Domingo performed the role of Nabucco), Zaryadye Hall (Moscow, Russia), Arena di Verona (Verona, Italy).
- Aida (“Aida”) at Teatro Verdi (Salerno, Italy), Bolshoi Theatre (Moscow, Russia), Maggio Musicale (Florence, Italy), Arena di Verona (Verona, Italy).
- Lady Macbeth (“Macbeth”) at Salle Gaveau (Paris, France; Placido Domingo performed the role of Nabucco), Theatro Municipal (São Paulo, Brazil).
- Leonora (“Il Trovatore”) at Palau de les Arts Reina Sofía (Valencia, Spain).
- Gulnara (“Le Corsaire”) at Teatro Carlo Felice (Genoa, Italy).
- Soprano solo in Verdi’s Requiem at Teatro Verdi (Trieste, Italy).
- Elvira (“Ernani”) at Teatro Filarmonico (Verona, Italy).
- Turandot (“Turandot”) at Maggio Musicale (Florence, Italy), Arena di Verona (Verona, Italy), Sferisterio (Macerata, Italy), KSPO Dome Arena (Seoul, South Korea), Gran Teatro all’Aperto G. Puccini (Torre del Lago, Italy), Aspendos Ancient Theatre (Aspendos, Turkey), Deutsche Oper am Rhein (Düsseldorf, Germany), Cologne Opera (Cologne, Germany).
- Giorgetta (“Il Tabarro” from Il Trittico) at Teatro Verdi (Trieste, Italy).
- Cio-Cio-San (“Madama Butterfly”) at Teatro Verdi (Trieste, Italy).
- Lisa (“The Queen of Spades”) at Opéra Royal de Wallonie (Liège, Belgium).
