CanvasRebel Magazine: Meet Diana Skavronskaya

We were lucky to catch up with Diana Skavronskaya recently and have shared our conversation below.

Diana, thanks for joining us, excited to have you contributing your stories and insights. One of our favorite things to hear about is stories around the nicest thing someone has done for someone else – what’s the nicest thing someone has ever done for you?

One day, I went to an audition at an opera theater in Moscow that I had been diligently preparing for. I was set to perform Tatyana’s Letter Scene from Tchaikovsky’s Eugene Onegin.
I sang the 13-minute aria with all my heart and soul. When I finished, the jury just said thank you without much interest, and I walked out into the hallway.
Suddenly, a young man came up to me and said, “Oh my God, Diana, is that you?”
I had no idea who he was. It turned out that five years ago, we had both auditioned for the Moscow Tchaikovsky Conservatory, and he remembered me. I got in, but unfortunately, he didn’t. After all those years, we ran into each other in the corridors of the Novaya Opera Theatre in Moscow.
Then he told me that there were auditions for an opera festival happening on another floor of the theater. This project was to take place in Germany. He insisted that I should try and sing something there. But I didn’t even know about this audition and hadn’t prepared anything in German. All I had were my Tchaikovsky scores and the long Tatyana aria. I wanted to thank him and leave, but he was so insistent that I should go and sing, even though I hadn’t submitted an application. Reluctantly, I agreed.
The two Germans, a conductor and a director, were about to leave. My name wasn’t even on their list since I showed up at the very last second when the auditions had ended. That day, 300 people had auditioned. They kindly agreed to listen to me. Maybe their politeness and good vibes played a part, but I had nothing in German, only the Tatyana’s aria. Their pianist started playing, and I sang the full 13 minutes in Russian. They offered me the lead role in 8 performances of Beethoven’s Fidelio and a contract in Germany, which was quite well-paid. I couldn’t have dreamed of such luck. And they took me on board.
So, you never know what’s waiting for you out there. Just trust your intuition and never turn down opportunities.
I will always remember the name of that kind vocalist who didn’t let me miss my chance.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I’m Diana Skavronskaya, a soprano opera singer with a passion for bringing stories to life through music. Opera has been my life’s work and joy, and I’ve had the privilege of performing on some amazing stages around the world.

My journey into opera began in Tashkent, Uzbekistan, and continued in Moscow, where I graduated from the Moscow Tchaikovsky Conservatory and then the Galina Vishnevskaya Opera Center. The experience was so enriching, all thanks to my amazing teachers who built the foundation for who I am today.

Now, in San Francisco, I’m fortunate to have Julia Hunt Nielsen as my vocal coach. Her professionalism and unwavering support have been invaluable. Julia Hunt Nielsen is an incredible, exceptional vocal coach who has greatly influenced my career. She has been a soprano at the San Francisco Opera and a professional singer. To me, she is a vocal coaching goddess. Thanks to her guidance, I am now singing on the best stages in California. She is always there to help and will never leave you without sound advice. Her support has been invaluable and I can’t imagine my journey without her.

I debuted as Contessa in Le Nozze di Figaro and Tatyana in Eugene Onegin at the Great Hall of the conservatory. Since then, I’ve performed a variety of roles, including Susanna in Le Nozze di Figaro in Sicily, Italy, returned to Tatyana in Eugene Onegin back in Moscow, and debuted as Mimì in La Bohème in Batumi, Georgia.

In the 2.5 years I spent in the US, I focused on laying my groundwork, refining my vocal technique, and pursuing a career. In 2024 season, I’m thrilled to be returning to the role of Mimì in La Bohème with Pocket Opera and Cinnabar Theater in San Francisco. One of my dearest memories is performing at Carnegie Hall in New York City, first at Weill Recital Hall in 2019 and then at Stern Auditorium / Perelman Stage in 2023. There’s something magical about singing in such historic venue, knowing the incredible artists and musicians who have stood there before me.

In light of this, I started my own project, Opera Club by Diana Skavronskaya, where I host vocal and classical music recitals across the Bay Area, featuring artists and musicians from all over the US. I have held a total of 14 recitals and sung with soloists who’ve graced prestigious stages like San Francisco Opera, La Scala, and the Metropolitan Opera. What sparked my idea and inspiration behind creating the Opera Club is that I wanted to create an atmosphere that both entertains and educates. Before each opera aria or duet, we delve into their backstory and explain the scene we are about to present. It’s incredible to see how our audiences appreciate and enjoy this experience.

What I really want people to know is that opera isn’t just my job – it’s my life. Perseverance, dedication and hard work are paramount. Time, however, has always been a challenge. I’ve always wanted to be ahead of the game, even dreaming of singing Tosca when I was just 17. Ambitious, right? But as I’ve learned, it all comes down to priorities and commitments. There are countless projects and opportunities, but you can’t be in two places at once. Once you commit, you’re fully invested in the project. Sure, there have been conflicts along the way, but each role and challenge have been invaluable lessons that have elevated me as an artist.

What sets me apart is my eagerness to seize an opportunity and never stop learning. I’m excited to share my love for opera and connect with my audiences, students, and fellow art enthusiasts.

Can you tell us about a time you’ve had to pivot?

I’m inclined to take risks. For example, at the end of 2021, I bought a ticket to the US on a whim, literally overnight, and just flew over. I basically left everything behind in Moscow, where I had great prospects. I moved to the US without knowing the proper language, thinking I had a chance. I was curious to challenge myself. In a split second, I decided to swap my comfortable life for something more diverse, more ambitious. I wanted to push forward in my career, and I had a gut feeling that this was exactly what I needed. I wasn’t wrong because two years later, in 2023, I was invited by Maestro Constantine Orbelian (Music Director and Principal Conductor of the New York City Opera and Principal Conductor of the Kaunas City Symphony Orchestra) to sing Rachmaninoff at the legendary Carnegie Hall’s Stern Auditorium/Perelman Stage in NYC. It’s hard to describe the joy of performing in such a stunning hall.

I take risks, chase my dreams, and write my own story. Who knows where my next adventure will lead? One thing I know for sure – it will involve opera singing. I’m incredibly happy that in the 2.5 years I’ve been in the US, I’ve continued my opera career, and the appreciative audiences here inspire me, offering amazing feedback that makes me want to grow and develop.

We’d love to hear a story of resilience from your journey.

Once, when I was still a freshman at the Moscow Tchaikovsky Conservatory, I auditioned for the La Scala Young Artists Program. I was singing Mimi’s aria from Puccini’s opera La Bohème. Halfway through, the audition jury interrupted me and said it wasn’t my role, that I even needed to change my repertoire, and that I would never sing Mimi on stage. However, some years later a sang a full production in an opera theater in Georgia. Now, in San Francisco, I am performing it in nine performances with Pocket Opera and Cinnabar Theatre.

Reflecting on that moment of being mischaracterized – after that audition, I sat in the car and thought that I would definitely sing Mimi. I was certain of that like never before because it was my role.

The lesson learned – a rejection like that should never take its toll. It shouldn’t break you or lower your spirits. I decided that I would never stop moving forward, and I would practice to perfection and prove that a role is ideal for me.