Aigul
Akhmetshina
Mezzo Soprano

Bio

Represented by
Simon Millward
Premier Press & Public Relations
simon.millward@premiercomms.com
Representation
Worldwide Exclusive
A Decca Classics recording artist, Aigul Akhmetshina begins her 2025–26 season with a return to the Arena di Verona as Carmen, followed by Fenena in Nabucco in a new production directed by Stefano Poda and conducted by Pinchas Steinberg.

This season, she makes her role debut as Isabella in L’Italiana in Algeri at Deutsche Oper Berlin, and returns as Carmen at the Metropolitan Opera, Teatro Real Madrid, and Bayerische Staatsoper. She also performs Carmen in concert at the Erl Festival in Austria.

Akhmetshina debuts as Dalila in Samson et Dalila at both the Royal Opera House and Staatsoper Berlin, and appears as Adalgisa in Norma at the Bayerische Staatsoper.

In concert, she presents a recital programme at Den Norske Opera & Ballett in Oslo, performs Wesendonck-Lieder with Vladimir Jurowski and the Bayerische Staatsoper on tour in Shanghai, and gives a recital at Teatro Colón in Buenos Aires.

Further highlights include gala concerts with Long Long at Prague’s Smetana Hall and the Hungarian State Opera, a Les Grandes Voix performance at Théâtre des Champs-Élysées with Kristina Mkhitaryan, and a solo recital at Teatro di San Carlo in Naples.

Since her breakout debut as Carmen at the Royal Opera House at the age of 21, Ms. Akhmetshina has rapidly ascended the international operatic stage. She has appeared at all major houses, including the Metropolitan Opera, Royal Opera House, Wiener Staatsoper, Bayerische Staatsoper, Deutsche Oper Berlin, Teatro Real, and Opéra national de Paris.

Awards and Recognition

Include CD of the YearOPER! Awards 2025 for her debut album Aigul (Decca Classics), Female Singer of the Year – International Opera Awards (2023), Sky Arts Award – Classical Music (2024), Olivier Award Nominee – Outstanding Achievement in Opera (2024), First Prize – International Hans Gabor Belvedere Singing Competition (2017)

Videos

Photos

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Aigul Akhmetshina
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Photo by
Aigul Akhmetshina
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Photo by
Aigul Akhmetshina
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Photo by
Aigul Akhmetshina
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Photo by
Aigul Akhmetshina
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Aigul Akhmetshina
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News

Press

Metropolitan Opera - Bizet - Carmen - Carmen:
Zachary Woolfe
The New York Times
“The only truly impressive aspect of this “Carmen” is its Carmen: the 27-year-old mezzo-soprano Aigul Akhmetshina, in turquoise cowboy boots. Though this icon of the repertory is her first leading role at the Met, she seems unfazed by the pressure, singing with easily penetrating evenness and clarity, never needing to push. Her molten yet agile tone can be confiding one moment and extroverted the next, and she moves with magnetic naturalness onstage.”
Metropolitan Opera - Bizet - Carmen - Carmen:
Zachary Woolfe
The Washington Post
“And mezzo-soprano Aigul Akhmetshina made a magnetic and often caustic Carmen, her voice equally suited to silken lightness as leathery depth. The show barely seemed to move before she emerged from behind a blood-red door on a catwalk above the action. Her Act I introduction, that familiar habanera (“L’amour est un oiseau rebelle”), was freshened by her humanistic reading, lightened by luminous choral work, and refined through the detail-oriented ear of conductor Daniele Rustioni. Akhmetshina also gave Carmen a restless physicality that never cut into her singing. Her Act II seduction (“Je vais danser en votre honneur ... La la la”) found her stretched across a set of gas pumps. Her reverie with her fellow thieves had her dangling from packing straps and dancing atop crates of smuggled weapons. Depending on the actress, Carmen can be a center of gravity or a black hole; Akhmetshina granted enough room for her to be both.”
Metropolitan Opera - Bizet - Carmen - Carmen:
Christopher Corwin
The Observer
"Aigul Akhmetshina, as Carmen, won a unanimously roaring ovation. At twenty-seven, the Russian mezzo who debuted at the Met fourteen months ago as Maddalena in Rigoletto has swiftly become the world’s go-to Carmen. His uninspired seduction conveyed little of the necessary electric connection between Carmen and Josè. In fact, Akhmetshina’s kittenish Carmen lacked fire and danger—so much so that her defiance of José during their final encounter came from out of nowhere.Though her characterization remained dramatically lightweight, Akhmetshina proved a vocally ideal Carmen. Her darkly inviting mezzo effortlessly rose from rounded lows to securely shining highs, and she phrased her music with a smoldering, insouciant flair. Hers is no light lyric instrument but a promisingly rich voice that could eventually develop into the big Verdi dramatic mezzo the world craves.”

Discography