Yana Ivanilova received her Masters Degree in voice at the Gnessin Russian Academy, where she studied under Professor Valentina Levko; she then received her Doctorate degree at the Tchaikovsky Moscow Conservatory, where she studied with Professor Nina Dorliak-Richter. Beyond these degrees, Ms. Ivanilova has studied voice in Vienna with Professor Ingeborg Wamser, thanks to a scholarship with the Austrian Ministry of Culture (1993-99); during this same period, she worked with conductor and vocal coach Peter Berne on Italian opera and Mozart repertory performance practice (1997-98). Ms. Ivanilova is currently residing in Montreal, Canada, where she is studying voice with Marie Devaluy (since 2000).
Her studies have yielded Ms. Ivanilova considerable success in her subsequent singing career. Among the awards she has won thus far include 2nd Prize in the 1998 Schneider-Trnavksy International Vocal Competition (Slovakia). As an opera soloist, she has worked with such esteemed conductors as Kent Nagano, Evgeni Svetlanov, Vladimir Fedoseev, Mikhail Pletnyev, Richard Bonynge, René Clemencic, Vladimir Spivakov, and Alexander Rudin. She has appeared as a soloist with the Moscow New Opera Municipal Theatre, the Moscow Bolshoi Theater, at Victoria Hall in Geneva, and at Westminster Cathedral in London, among others. Her operatic roles thus far include Violetta in La Traviata; Maria Stuarda in Donizetti's opera of the same name; Tatiana in Eugene Onegin; Lucrezia in I Due Foscari; Statue in Rameau's Pigmalion; and roles in Baldassare Galuppi's Il Re Pastore and Giuseppe Sarti's Enea nel Lazio. The last several roles underscore Ms. Ivanilova interest in early music, and in particular she has taken a keen interest in resurrecting 18th c. Russian secular and courtly vocal music that she performs regularly. This along with her activities performing contemporary music make Ms. Ivanilova a versatile vocalist indeed, and we are pleased to feature her here at the Classical Archives.