“There were no identity problems with the Tchaikovsky extracts – two heroines in thrall to mad, bad or sad men, with Kristine Opolais taking no prisoners in Lisa’s Act One scena from The Queen of Spades, and ‘Tatyana’s Letter Scene’ from Eugene Onegin. There were no texts, either printed or projected, but with Opolais’s impassioned, grand-standing delivery, the gist was clear enough, I suppose. As ever, she radiated glamour, her voice was on gleaming form, and her finely judged glides to and from notes and her caressing of pitch were fresh and seductive. The most affecting moment, though, came in Tatyana’s complicit amazement at what she is doing with her life, with Henrik Wahlgren’s oboe and Ralf Götz’s horn hovering in attendance like sorrowful guardian angels, and Opolais wondrously focused and disarmingly innocent.”

Classical Source

“…soprano Kristine Opolais, on the platform. The first-act arioso of unfortunate Lisa, besotted with card-obsessed Hermann in Tchaikovsky’s The Queen of Spades, found her in true diva form, using long arms expressively for a theatrical kind of forlornness and doing an appropriate twirl to welcome the magic of a starlit night.”

The Arts Desk

“Kristine Opolais [was] on superlative form. In Liza’s third-act arioso from The Queen of Spades and the Letter Scene from Eugene Onegin, she truly brought to life her characters, without context, scenery, or titles. One knew and felt what Liza and Tatiana meant, what their plight was – and could have taken dictation, verbal or musical, from her. Hers were fully gestural performances too, very much those of a classic singing actress.”


“The smokiness to Opolais’ lower register in Tatyana’s Letter Scene was welcome and she acts convincingly, engaging the audience completely. You felt Tatyana’s whispered words of love, as she wonders whether Onegin is her guardian angel or some wily tempter, were directed straight at you.”


“Lisa’s Arioso from the first act of The Queen of Spades and Tatyana’s Letter Scene from Eugene Onegin certainly got the full diva treatment from Kristine Opolais, with stagey gestures and pressurised tone.”

The Guardian