“L’ultimo sogno/La Traviata” Staatstheater Kassel
September 2020, Orpheus magazine https://www.orpheus-magazin.de/
“Bei aller hohen Qualität des gesamten Solistenensembles und des auf dem Rang positionierten Chores, gehört der Abend der überragenden Vlada Borovko. Die russische Sopranistin gehört zu den Shootingstars der internationalen Opernszene. Wer sie in Kassel erlebt, weiß, warum das so ist. Ohne Unterbrechung ist sie auf der Bühne präsent und fasziniert mit makelloser Stimmführung und einer vokalen Ausdrucksstärke, die berückend ist. Dabei zieht sie auch mit schauspielerischer Intensität in den Bann und gestaltet ihr inneres Verbrennen zu einem erschütternden Bild für das Scheitern ihrer Liebe zu Alfredo (mit bewegendem canto dramatico Giordano Lucà)”. (Claus-Ulrich Heinke)
20 September 2020, Die Deutsche Bühne https://www.die-deutsche-buehne.de/
“Mit Vlada Borovko hat Kassel einen hervorragenden Gast als Violetta. Sie singt mit ausgeglichen rundem Sopran sowohl die Koloraturen als auch ihre lyrischen Erinnerungen. Und sie füllt auch darstellerisch den Fokus, in dem sie in dieser konzentrierten Fassung steht. Schön vereint sich ihre Stimme im Duett mit dem geschmeidigen Tenor von Giordano Lucà als Gast-Alfredo, der höhensicher mit vielen Ausdrucksfarben singt, dabei zuweilen ein gewisses emotionales Schillern hören lässt”. (Andreas Berger)
21.09.2020, HNA
“Die russische Sopranistin Vlada Borovko ist eine grossartige Violetta, wohltönend in allen Lagen, nobel expressiv, aber auch mit dramatischen Höhen wie feurigen Koloraturen. Und sie kann schaurig husten”. (Georg Pepl)
21.09.2020 HR2
“Vlada Borovko als Violetta Valeri meistert die Partien bravourös, sie singt sehr natürlich”.
LA BOHEME – ROYAL OPERA HOUSE
2018-06-26, Opera-online.com, London
“Vlada Borovko displays a sumptuous soprano as Musetta, and has the presence to help make Act II feel suitably grand”.
(Sam Smith)
2018-07-01, Theatre-news.com, London
“Musetta’s defiant first aria, ‘Quando me’n vo …’ (When I go out) has even been used as the basis for two pop songs. Vlada Borovko not only sings with magnificent provocation but does it while standing on a table and taking off her underwear”.
(Rachel Billington)
2018-07-03, Newsmuz.com, London
“Transformation of her character in the last moments of Mimi’s life is unforgettable and very touching”.
(Ludmila Yablokova) Photo by Catherine Ashmore
MITRIDATE RE DI PONTO – ROYAL OPERA HOUSE
2017-07-02, Schmopera, London
“Some of the best singing of the evening came from Vlada Borovko, filling in for Albina Shagimuratova as Aspasia. She seemed utterly comfortable and confident, taking the stage with grace and fleshing out the vulnerabilities of her character easily. Her tone was round and plummy, yet incredibly agile and flexible. Particularly, her quiet singing was something to be remarked on – very well controlled, but it seemed to always be deeply felt. I kept thinking I’d heard her best aria, but then she would impress me again. She opened the opera with a stunning display of vocal fireworks and emotional intensity that was balanced best by the incredibly tender and astonishing “Pallid’ombre” in Act III.“
(Patricia Auchterlonie)
2017-07-08, The Idle Woman, London
“The young Mozart made a point of writing very tricky arias to show off his talents, and Aspasia gets most of the very hard music. Her opening aria, Al destin, che la minaccia, would be demanding even for a seasoned professional, but Borovko pulled out all the stops and delivered that vaulting coloratura with flair. She was a bit quiet for the rest of Act 1, perhaps having exhausted her fire on that crucial first aria, but she came back in Acts 2 and 3. Visually she made a perfect Aspasia: poised, but young, gentle but proud. Of course, in this production there are challenges quite aside from the vocal ones: Aspasia has to negotiate a court mantua approximately six feet wide, which makes the flamboyant tonnelets worn by the ‘men’ look positively sane. Borovko was more than equal to the task: gliding around the stage like a porcelain doll, her emotions as constrained as her costume.“
2017-07-29, OperaClick,
“Di gran valore l’Aspasia di Vlada Borovko che sostituisce all’ultimo Albina Shagimuratova, malata.
Borovko, nonostante la chiamata last minute ha dato un’ottima prova di prontezza e abilità scenica, un timbro dal colore chiaro e posato, qualche piccola sbavatura su alcuni passaggi difficili, ma sempre mantenendo salda la concertazione in un’emissione curata della voce. Gli applausi che hanno omaggiato questo cambio nottetempo dicono più delle parole.“
Borovko, nonostante la chiamata last minute ha dato un’ottima prova di prontezza e abilità scenica, un timbro dal colore chiaro e posato, qualche piccola sbavatura su alcuni passaggi difficili, ma sempre mantenendo salda la concertazione in un’emissione curata della voce. Gli applausi che hanno omaggiato questo cambio nottetempo dicono più delle parole.“
(Fabio Tranchida)
2017-07-09, Crescendo Magazine ,
“Le rôle d’Aspasia était clairement une tâche ardue pour Vlada Borovko qui se défendait honorablement.“
(Erna Metdepenninghen)
2017-07-16, A younger theatre, London
“Borovko sings powerfully and precisely.“
(Dan Rubins)
JETTE PARKER YOUNG ARTISTS SUMMER PERFORMANCE AT COVENT GARDEN
2017-07-18, Opera Today, City of London
“Opening the programme with the Act II duet from Verdi’s I due Foscari, Vlada Borovko confirmed my previous impression (not least in last year’s JPYA performance and most recently in the ROH’s L’elisir d’amore ) that she is a soprano of dramatic power and commanding presence, well equipped to master Verdi’s surging vocal lines. She was a stirring Lucrezia, comforting David Junghoon Kim’s Foscari when he learns of his exile and conveying the full fierceness of Lucrezia’s love for her husband and fiery scorn for the scheming clique, the Council of Ten. Later, when the ensemble came together for the end of Act 2 of Don Giovanni, Borovko displayed similar concentration and intensity in Donna Anna’s ‘Non mi dir’.“
(Claire Seymour)
VERDI’S MESSA DA REQUIEM – THE GRANGE FESTIVAL, ALRESFORD
2017-06-09, MusicOMH, London
“The soloists were very strong… Vlada Borovko’s soprano blended perfectly with Lucia Cervoni’s mezzo-soprano in ‘Recordare, Jesu pie’“
( Sam Smith )
L’ELISIR D’AMORE – ROYAL OPERA HOUSE
2017-06-04, Sunday Express, London
“Vlada Borovko is lively as Giannetta, leader of the village girls.“
(CLAIR COLVIN)
2017-06-02, Mail Online, London
“Russian soprano Vlada Borovko was a strong Giannetta“
(TULLY POTTER)
2017-05-27, Opera today, London
“Jette Parker young artist, Vlada Borovko, has impressed me in the past (see Oreste at Wilton’s and JPYA Summer Performance 2016 ) and here she was a rich, vibrant Giannetta who relished the opportunity to play to the crowd when delivering the latest gossip about Nemorino – she’s got the news from the haberdasher, so it must be true.“
(Claire Seymour)
2017-05-28, Seen and Heard International, London
“the always-reliable Jette Parker Young Artist, Vlada Borovko, was a wholesome and appealing Giannetta.“
(Jim Pritchard)
HANDEL’S ORESTE -WILTON’S MUSIC HALL
2016-11-09, The Telegraph, London
“The women are ahead of the game here, with Vlada Borovko, Jennifer Davis and Angela Simkin all providing attractive and accomplished virtuosic singing“
(Rupert Christiansen)
2016-12-17, Opera magazine, Jan 2017, London
“Vlada Borovko, as Oreste’s feisty wife Ermione, sang with a light metallic soprano and coped well with coloratura and the advances of king Toante (Simon Shibambu)“
(Amanda Holdway)
2016-11-20, The Guardian, London
“Vlada Borovko (Ermione) brought the house down with her furious demisemiquavers.“
(Stephen Pritchard)
2016-11-16, The Cusp , London
“Borovko’s shimmering coloratura had a steely accuracy and resolve that made it clear Ermione considered herself a cut above“
(Tom Stewart)
2016-11-15, Express, London
“Angela Simkin plays the part of Oreste in a beguilingly mad and twitchy manner, while the other two female cast members, Jennifer Davis (Ifigenia) and Vlada Borovko (Ermione) display gloriously precocious singing talent.“
2016-11-08, Theatre-news.com, London
“The plot is almost secondary as operas of the time were more about the music and performances than story. And being a baroque opera, arias abound. This gives the singers the opportunity to indulge themselves and their technique. All the cast are excellent but the standout was Borovko with the arias ‘lo sperai di veder il tuo volto’ and after Toante gives her an ultimatum and she fully understands the horror of her situation with ‘Dite pace e fulminate”. “
(Paul Chapinal)
2016-11-14, The stage, London
“High vocal standards, from Angela Simkin’s psychologically damaged Oreste, Jennifer Davis’s reluctant executioner Ifigenia, Thomas Atkin’s vividly sung Pilade, Vlada Borovko’s spirited Ermione, Simon Shibambu’s grand-scale Toante and with Gyula Nagy an increasingly lairy Filotete – a contralto role transposed for baritone.“(George Hall)
2016-11-14, Schmopera, London
“Soprano Vlada Borovko looked like Park Avenue had stumbled into Brooklyn as Oreste’s wife, Ermione. She sang with a bird-like, clear-as-a-bell soprano that seemed perfectly naïve; her arias – excellently sung – spanned everything from understated and prayer-like to pyrotechnic and wild. The stakes didn’t quite seem high enough for her character arc, however; the threat of rape by Toante felt luke-warm, and Ermione’s turn on the violent leader felt less like a woman taking power, and more like the leadership’s growing slack.“
(Jenna Douglas)
2016-11-09, Broadway world, London
“As central couple Oreste and Ermione, Angela Simkin and Vlada Borovko have perhaps the toughest job of all, reconciling the contradictions of Handel’s music and Jones’s direction. Each impressed, though vocally it was Borovko who triumphed thanks to some of the composer’s most generous vocal writing.“
(Alexandra Coghlan)
2016-11-08, Classical source, London
“Ermione, Vlada Borovko was especially impressive for the precision of her tricky coloratura which did not come under strain whatever the demands Handel makes.“
(Curtis Rogers)
2016-11-11, Opera Online, London
“All soloists are members of the Royal Opera’s Jette Parker Young Artists Programme, and deliver singing of an exceptionally high standard…Simkin, however, only stands as the first among equals as Jennifer Davis as Ifigenia, Gyula Nagy as Filotete, Simon Shibambu as Toante, Vlada Borovko as Ermione and Thomas Atkins as Pilade all play, and most importantly sing, their parts to the full”.“
(Sam Smith)
2016-11-10, A Younger Theatre, London
“Russian soprano Vlada Borovko’s performance of Ermione is particularly impressive, as she delivers complex ornamentation with clarity and precision, whilst simultaneously embodying her prim and proper character.“
(Emily May)
2016-11-09, Brian Dickie Life after 50 years in opera and still counting……, London
“Super Irish and Russian sopranos Jennifer Davis and Vlada Borovko were moving and stylish Handelians as the much abused young women, and the low life men were Hungarian Gyula Nagy and South African Simon Shimbambu – all these valuable contributors throughout the season to the Royal Opera in so many different smaller roles. Here was their opportunity to shine, and shine they did!“
(Brian Dickie)
2016-11-09, Independent, London
““Acting is strong – we shall surely see more of baritone Gyula Nagy, and soprano Vlada Borovko, who lands in this world like something out of Breakfast at Tiffany’s, and sings with style to match”.“
(Cara Chanteau)
2016-11-09, Culture whisper, London
“The Irish soprano Jennifer Davis as Ifigenia, reluctant priestess, and the Russian soprano Vlada Borovko as Oreste’s wife, Ermione, give particularly fine performances that grow and grow in strength. Borovko, as a woman who turns left even on a life-boat, spins her early, pearly sound, as shiny as her nails and pert chignon, into something richly coloured as she overcomes the despot.“
(Claudia Pritchard)
ADRIANA LECOUVREUR – ROYAL OPERA HOUSE
2017-02-08, Schmopera, London
“Jette Parker Young Artists Vlada Borovko, Angela Simkin, Thomas Atkins and Simon Shibambuwere full of life and personality as Mademoiselles Jouvenot and Dangeville, and as Poisson and Quinault.”
(JENNA DOUGLAS)
2017-02-10, The times, London
“Thomas Atkins, Simon Shibambu, Vlada Borovko and Angela Simkin are agile and deftly blended in the madrigalian ensembles, as are Bálint Szabó and Krystian Adam as the Prince and the Abbé .”
ROYAL OPERA HOUSE JETTE PARKER YOUNG ARTISTS JUKE BOX
2016-10-10, The Stuart Review, London
“To discuss just a few of the particular standouts: Vlada Borovko was the first soloist of the night with Glinka’s ‘All was quiet’, Borovko’s voice was simply flawless, I cannot wait to see how her career progresses, definitely one to watch!“
2016-10-03, Schmopera, London
“Safe as the programme may have been, the singers and pianists impressed; some of our highlights were the performances by tenor Thomas Atkins, sopranos Jennifer Davis and Vlada Borovko, and tenor David Junghoon Kim.“
(Jenna Douglas)
NORMA – ROYAL OPERA HOUSE, LONDON
2016-09-16, Seen and heard international, London
“Vlada Borovko was a fine Clotilde (Norma’s confidante)“
(CClarke )
2016-09-30, Culturamente,
“Buoni il tenore David Junghoon Kim nel ruolo di Flavio, amico di Pollione, ed il soprano Vlada Borovko nel ruolo dell’ancella di Norma Clotilde, seppur vestita come la Signorina Rottenmeier.“(Marco Rossi)
2016-09-23, Forumopera.com, Paris
“Chez les seconds rôles, Vlada Borovko suscite l’envie de l’entendre dans des emplois plus longs : une tradition pour les Clotilde de Royal Opera House.“
(Yannick Boussaert)
2016-09-13, MusicOMH, London
“As Norma’s confidante Clotilde Vlada Borovko proved her worth as a rising soprano with a solid technique to listen out for, rounding out her character with skilled yet subtle acting ability.“
(Evan Dickerson)
2016-09-13, The Telegraph, London
“Both the Flavio, David Junghoon Kim, and the Clotilde, Vlada Borovko, make their mark in recitative, and Brindley Sherratt is a properly solemn and fearsome Oroveso.“
(Rupert Christiansen)
2016-09-13, Planet Hugill, London
“Both David Junghoon Kim and Vlada Borovko impressed in the smaller roles of Flavio and Clotilde.“
(Robert Hugill )
2016-09-13, Opera today, London
“The minor roles of Pollione’s friend Flavio and Norma’s confidante Clotilde, were sung competently by two Jette Parker Young Artists: David Junghoon Kim and Vlada Borovko respectively.“
(Сlaire Seymour)
A SUMMER PERFORMANCE SHOWCASES YOUNG TALENT NURTURED BY THE JETTE PARKER YOUNG ARTISTS PROGRAMME
2016-07-18, Seen and Heard International, London
“Nobody had anything less than a good voice but – in my opinion – only three singers genuinely commanded the stage and particularly drew my eyes to them: Russia’s Vlada Borovko, Australia’s Emily Edmonds and England’s James Platt. Singing in Czech and Russian admittedly did cause all of them to be thinking more about the sound of their words rather than their acting; whilst all those involved were obviously happier when later singing in Italian or German.“
(Jim Pritchard)
2016-07-17, Bachtrack, London
“Vlada Borovko gave a heartfelt Kát’a, steely top notes confidently placed…“
(Mark Pullinger)
NABUCCO – ROYAL OPERA HOUSE
2016-07-02, www.codalario.com,
“Con ganas nos quedamos de apreciar en roles de mayor enjundia a Vlada Borovko en el breve papel de Anna. Su frase “deh fratelli perdonate, una schiava salvata egli ha” fue suficiente para apreciar la existencia de un material de gran calidad.“
(Rubén Martínez)
2016-06-07, Mark Ronan, theatre reviews, London
“The act I trio between Ismaele, Fenena and Abigail was beautifully sung, as were supporting roles, with ROH Young Artist Vlada Borovko notable as Zaccaria’s sister Anna.“
(Mark Ronan)
BORIS GODOUNOV – ROYAL OPERA HOUSE
2016-07-16, MusicOMH, London
“The well-known rebuttal to Mussorgsky that the opera lacked a reasonably important female role proved well founded, but that did not stop Russian soprano Vlada Borovko making the most of her single scene as Boris’ daughter Xenia. It would certainly be welcome to hear her assume more extensive repertoire in future.“
(Evan Dickerson)
2016-07-18, Seen and Heard International, London
“Vlada Borovko reprised her excellence as Xenia…“
(Colin Clarke)
2016-07-17, Bachtrack, London
“Amongst the more minor roles, nods should go to Jeremy White’s police officer, Nikitich who opened the opera with a powerful, sonorous bass, and Vlada Borovko’s Xenia, the only female role in this version, whose warm soprano was given too little to sing.“
(Dominic Lowe)
2016-03-21, “Anaclase”,
“Parmi les autres seconds rôles l’on remarque le soprano russe Vlada Borovko, attachante Xenia éplorée..“
( Bertrand Bolognesi)
2016-03-20, “Sunday express”, London
“John Graham-Hall as Prince Shuisky subtly undermines the beleaguered Tsar, and Royal Opera Young Artist Vlada Borovko impresses as Boris’s unhappy daughter Xenia.“
(CLARE COLVIN)
2016-03-19, Schmopera, London
“Jette Parker Youth Artist Vlada Borovko was heartbreakingly beautiful as Xenia, Boris’ daughter. She sang with a clear, powerful sound that fit this masculine opera.“
(Jenna Douglas)
2016-03-15, Opera Britannia, London
“Fortunately the other parts were of high standard with special mention of Kostas Smoriginas excellent as Shchelkalov (what a gift of a role this is!) and Vlada Borovko as Xenia.“
(Sebastian Petit)
2016-03-16, “Opera Today”, London
“And, in the Tsar’s apartments – where a map marks Russia’s territories in red, as if the land is bathed in blood – sweet-toned relief is offered by Xenia (Vlada Borovko), who laments the death of her fiancé, and her Nurse (Sarah Pring), who tries to console her.“
(Claire Seymour)
CARMEN – ROYAL OPERA HOUSE
2015-11-17, An opera notebook, London
“An especial mention must go to Frasquita (Vlada Borovko). A fairly small part, but really very wonderful – more noticeable from the front of the stalls than the back of the stalls circle, a commanding presence and really beautiful instrument. I anticpate her in Godunov and I might well plonk for Nabucco too.“
(Malcolm)
2015-10-30, “Limelight Magazine”, London
“Along with Vlada Borovko as Frasquita and Michele Losier as Mercedes, all four provided a welcome freshness to a sometimes pedestrian revival.“
(Howard Shepherdson)
2015-11-14, “L’ape musicale”,
“Apprezzabili la Frasquita di Vlada Borovko e la Mercedes di Rachel Kelly.“
(Pietro Gandetto)
2015-10-29, “A young theatre”, London
“Of the supporting performers, the pairing of Michèle Losier and Vlada Borovko as Carmen’s gypsy friends must be praised – feisty and in sync with each other, these two are a welcome addition to each of the scenes they play a role in.“
(Daniel Perks)
“Opera Online”, London
“…while Vlada Borovko and Michèle Losier are excellent as Carmen’s gypsy friends, Frasquita and Mercédès.“
(Sam Smith)
2015-10-19, Seen and Heard International, London
“The smaller roles were as well-prepared as everything else seemed to have been: Vlada Borovko and Michèle Losier were a pair of high-spirited foils for Carmen as Frasquita and Mercédès, with Grant Doyle and Timothy Robinson having fun as the conspiring smugglers, Le Dancaïre and Le Remendado.“
(Jim Pritchard)
2015-10-20, Music OMH, London
“Her friends Frasquita and Mercédès were strongly characterized by Vlada Borovko and Michèle Losier respectively, and Grant Doyle and Timothy Robinson made their mark as the two smugglers.“
(Melanie Eskenazi)