Dinara Alieva was born in Baku, Azerbaijan, and graduated from the music academy there. She has won prizes and many international competitions, including the Operalia Competition (Milan, La Scala, 2010), the Francesco Viñas Competition (Barcelona, 2010), the Maria Callas Competition (Athens) and the Elena Obraztsova Competition (St Petersburg). In 2010 she gave a joint concert with Plácido Domingo in Baku, and she was awarded the title of Honorary Artist of Azerbaijan.
Dinara Alieva is a soloist of the Bolshoi Theatre, where she performs principal roles in leading productions. It was here that she made her début as Liù in Turandot . Other roles include Rosalinde Die Fledermaus , Leonora Il Trovatore , Mimì and Musetta La Bohèm e, Violetta La
Traviata , Nedda Pagliacci , Micaela Carmen and Marfa The Tsar’s Bride . Before joining the Bolshoi, Dinara Alieva was a soloist of the Baku Opera and Ballet Theatre Company. She sang Violetta at the Mikhailovsky Theatre in St Petersburg, and again in a memorial concert performance dedicated to Maria Callas at the Thessaloniki Concert Hall and in the Megaron concert hall in Athens. She participated in the Elena Obraztova Jubilee Gala at the Bolshoi Theatre and at the Mikhailovsky Theatre. In 2011 she made her debut at the Wiener Staatsoper as Donna Elvira Don Giovanni , and at the Oper Frankfurt as Violetta, and was immediately invited back for new productions in the following seasons by both theatres. Other engagements included Giulietta L es contes d’ Hoffmann at the Bayerische Staatsoper Munich, Violetta at the Wiener Staatsoper, and her debut at the Deutsche Oper Berlin as Violetta in 2013. In 2014 Ms Alieva returned to the Wiener Staatsoper as Tatyana Eugene Onegin , and returned to the Deutsche Oper Berlin that same year as Donna Elvira. She sang Marie Mazeppa in her debut for the Opera de Oviedo and her first Rusalka in Beijing. Other recent highlights include Mimi at the Semperoper Dresden and Oper Frankfurt, Violetta, Mimi and Micaela at the Bolshoi Theatre with Tugan Sokhiev, Magda in Rolando Villazon’s production of La Rondine at the Deutsche Oper Berlin, and Leonora Il trovatore for both the Israeli Opera (Daniel Oren) and Verdi Festival Parma. Dinara’s concert engagements include Missa Solemnis in Moscow, the Verdi Requiem at the Brucknerhaus Linz, and gala concerts in Lithuania and France.
Forthcoming engagements include a return to the Deutsche Oper Berlin as Mimi, her debut for the Hamburgische Staatsoper as Violetta, role debuts as Desdemona Otello in Frankfurt and Donna Anna Don Giovanni in Berlin, and a return to the Wiener Staatsoper as Liu.
Miss Alieva's discography includes a CD of Italian opera arias for Delos Records Pace Mio Dio , a vocal recital entitled Russian Songs and Arias with the New Russian State Symphony Orchestra on Naxos, and a duo CD of Italian love duets with tenor Alexandr Antonenko, conducted by Constantine Orbelian. The production of La rondine from the Deutsche Oper is now available on DVD.
“But, the singing! My heavens, I thought such unabashed, full-throttle verismo emotionalism had died with the 1950s! Dinara Alieva has a wonderfully opulent soprano, a true spinto with seemingly limitless power and an absolutely free top; she could tackle any Verdi or Puccini role that comes to mind, except Turandot and perhaps Lady Macbeth. But she knows how to rein it in for emotional expression, and she fully captures Magda’s emotional vulnerability… Both he [Charles Castronovo] and Alieva have excellent diction, secure intonation, and rock-steady diaphragm support. It’s possible that some critics will object that Magda and Ruggero should be portrayed by lighter, more lyrical voices, in a lower-key more intimate manner. I can only respond that this couple is stupendous; I’ve not heard vocalism this thrillingly beautiful in years, and I literally had shivers of delight rippling up and down my spine as they poured out gleaming, golden tones.”
James A. Altena, Fanfare Magazine
“From the quality of her voice, one would guess that the soprano Dinara Alieva came from Sp
“From the quality of her voice, one would guess that the soprano Dinara Alieva came from Spain or Italy, but in fact she was brought up and educated in Azerbaijan. There is nothing Slavonic-sounding in her firm, creamy voice and certainly no Slavonic wobble, making her a perfect candidate for this formidable sequence of favourite soprano arias.
She opens with Violetta’s two big solos from La traviata. Her coloratura in the cabaletta ‘Sempre libera’ is flawless, while in the two stanzas of ‘Addio del passato’ she offers subtle contrasts. Butterfly’s ‘Un bel dì’ in the first of her Puccini items rises to a thrilling climax at the end, with no roughness in the voice even under pressure. ‘O mio babbino caro’ from Gianni Schicchi is similarly nuanced, while the items by Cilea, Catalani and Leoncavallo are also shaded beautifully in tone and dynamic. She ends the recital with more Verdi, if anything even more taxing. She produces perfect trills in the cabaletta of ‘Tacea la notte’ from Il trovatore and rises superbly to the challenge of the big aria for the heroine in La forza del destino, ‘Pace, pace mio Dio’.
What is remarkable about all of Alieva’s singing is her depth of feeling, conveyed without exaggeration, from the heart. It is not surprising that such divas as Montserrat Caballé and Teresa Berganza speak of Alieva with such warmth. This really is an exceptional soprano recital which should bring the name of Dinara Alieva to new prominence.”
Edward Greenfield, Gramophone
“Azeri soprano Dinara Alieva trained in Baku. After a few years at the theater there, she guested as Liù at Moscow’s Bolshoi Opera in 2009 and joined that theater the following year for a number of starring roles. So far, her outstanding Western credit is two Donna Elviras at Vienna State Opera in 2011; she returns there this spring for Tchaikovsky’s Tatiana. She has also sung Elvira and Violetta at Deutsche Oper Berlin. Delos’s packaging emphasizes that Alieva is an extremely attractive woman; fortunately — as is not always the case these days — she also demonstrates considerable temperament and has a striking, beautifully colored instrument … Withal, Alieva’s is certainly one of the more beautiful and convincing voices I’ve heard confronting this repertory among the younger generation of singers; that and her glamorous persona should carry her far.”
David Shengold, Opera News