Aigul Akhmetshina Brings Her Rising Star Power to Teatro Colón

Photo Credit: Ciclo Aura

The rising mezzo-soprano's recital showcased a compelling mix of classical repertoire, world premieres, and surprising tango and musical theater numbers, solidifying her status as a star of a new generation.

BUENOS AIRES – For a long time, the Teatro Colón served as a venue for two types of singers: a nascent star making their debut or an established figure in the twilight of their career, on a farewell tour. We've seen many promising voices launch their international careers here and welcomed operatic legends for their final bows. However, this trend seems to be shifting, and a clear example is the recent recital by mezzo-soprano Aigul Akhmetshina in the main hall of the Colón.

As part of the Aura Concert Series (Ciclo Aura), organized by Mama Hungara and Elisa Wagner, this young and celebrated singer performed at the very peak of her career. To a nearly full house, Akhmetshina presented an eclectic and intriguing program that balanced tradition with her clear passion for music, regardless of its style or genre.

A Strong Start

The first half of the concert featured a standard recital format, with a repertoire designed to showcase a voice of her tessitura. She began with "Una voce poco fa" from "Il Barbiere di Siviglia," a correct and well-executed start to the evening. While the interpretation was sweet and precise, it didn't quite possess the effervescent quality that mezzos with lighter, more agile voices can achieve.

The evening truly came to life with the second piece, "Acerba voluttà" from "Adriana Lecouvreur." Here, the singer showcased a powerful and deep lower register, respecting the verismo crescendo the piece demands. This performance, along with "Ah Tanya, Tanya…" from "Eugene Onegin" and "Dear Friends" from "The Queen of Spades," gave a clear first glimpse of her talent. Her controlled yet forceful voice easily filled the large theater, and her clear diction in both Italian and Russian was a definite highlight.

Her rendition of "Mon coeur s’ouvre à ta voix" from "Samson et Dalila" was a strong follow-up, maintaining the high standard already established. The audience responded with warm applause. While her interpretation was excellent, I would have preferred her to remain stationary during this piece. Although singers shouldn't be glued to the piano, certain arias benefit from a fixed position, especially in a hall as large as the Colón, to allow the audience to fully appreciate the performance.

A less discussed but noteworthy part of the recital was Akhmetshina's exquisite performance of "Va! Laisse couler mes larmes" from "Werther." Having heard her recordings in the role of Charlotte, it was a personal pleasure to experience this live. Her voice is ideally suited for this role, and she conveyed the emotion of every word.

The audience was completely won over by the two arias from "Carmen." It’s no surprise that Akhmetshina has already been cast in several productions of the role in the 2024-2025 season. With ease and power, she delivered the famous "L’amour est un oiseau rebelle" (Habanera) and "Près des remparts de Séville" (Seguidilla), combining talent and stage presence perfectly, even without the aid of costumes or props.

A Shift in Program and Style

The second half of the concert began with an intimate section featuring two well-known pieces by Rachmaninov, "Ne poy, krasavitsa, pri mne" (Do Not Sing, My Beauty) and "Zdes' khorosho" (How Fair This Place), along with "Landscape" by contemporary composer Mark Minkov. Though the Rachmaninov pieces were noticeably adapted for her tessitura, they created a beautiful, intimate atmosphere that contrasted sharply with the intensity of the first half.

One of the most exquisite moments of the night was her interpretation of "Ein Blumenstrauß aus Nizza / Букет цветов изНиццы / Flowers of Nice" by the Hungarian composer Dénes Buday. It may be a long time before we hear this beautiful but very specific piece again on the Colón stage. It created a sense of sheer ecstasy in the air, with Akhmetshina’s voice sounding exquisitely evocative.

The world premiere of "Mujer Fatal" by Elena Roussanova was very well-received. It was the first time the mezzo sang in Spanish. Far from being a passionate, rhythmic piece, it was performed with a sublime and highly virtuosic piano accompaniment by Jonathan Papp. It bore a parallel to the following piece, "La Rosa y el Sauce" by Argentine composer Carlos Guastavino, as both possess a subtle yet powerful quality.

The official program concluded with two tangos by Carlos Gardel, "Por una cabeza" and "El día que me quieras," accompanied by three guitars instead of the piano—one of the evening’s many surprises. Akhmetshina had previously mentioned in interviews that she was perfecting her Spanish for these songs, and her diction classes clearly paid off; her delivery was clear and understandable. The artist also confessed to a last-minute change, replacing Agustín Lara’s "Granada" with Consuelo Velázquez’s "Bésame Mucho," performed in a memorable piano and voice version.

Photo Credit: Ciclo Aura

Unexpected Surprises and Encores

The recital was also marked by a series of surprises. At the end of the first half, Argentine baritone Germán Alcantara unexpectedly joined her onstage to perform the only Mozart of the night, the duet "Là ci darem la mano" from "Don Giovanni." Despite some visible improvisation and slight confusion with the lyrics and tempo, the duo’s warmth won over the audience.

Alcantara’s second appearance was for the tango "El día que me quieras," which he sang as a duet, with both singers improvising a bit of a tango dance. Again, the audience celebrated this surprise, even though there was a noticeable vocal mismatch between Alcantara and Akhmetshina, and between his voice and the piece itself.

The encores essentially became a third act, condensing the "crossover" nature of the concert. Six songs demonstrated her versatility, moving from classical to musical theater and back to her homeland. Tchaikovsky’s "None but the lonely heart" and Rimsky-Korsakov’s "The Nightingale and the Rose" brought back the intimate atmosphere of the second half, showcasing her command of her voice in creating a tender mood.

The third encore, "Lucky to Be Me" from Leonard Bernstein’s "Out of Town" was a powerful rendition that evoked the voice of Jessye Norman. Akhmetshina followed this with "Somewhere" from "West Side Story" making for a memorable musical theater section.

To close, the artist performed Piazzolla’s "Yo soy María," which was equally superb and impeccably delivered. By this point, the mezzo had completely won the hearts of the attendees, even some of the traditional music lovers who had been skeptical before the concert. As a final gift, without piano accompaniment, she offered a traditional Russian song, "The Nightingale," a moment that felt like a final, heartfelt opening to the audience.

Photo Credit: Arnaldo Colombaroli

This recital marked a significant moment not only for Aigul Akhmetshina, but also for the Teatro Colón itself. It was a clear statement that the theater is embracing a new era of operatic stars: singers in their prime who are unafraid to blend styles and genres while maintaining a high standard of artistry. Akhmetshina's performance was not just a showcase of her technical prowess, but a testament to her passionate and versatile approach to music, solidifying her place as a major voice of her generation.

- written by Luciano Ayala (Blueberry Música)