Reviews in Russian


2018-06-26,, London

“Vlada Borovko displays a sumptuous soprano as Musetta, and has the presence to help make Act II feel suitably grand”.
(Sam Smith)
2018-07-01,, LondonROYAL OPERA
“Musetta’s defiant first aria, ‘Quando me’n vo …’ (When I go out) has even been used as the basis for two pop songs. Vlada Borovko not only sings with magnificent provocation but does it while standing on a table and taking off her underwear”.
(Rachel Billington)
2018-07-03,, London
“Transformation of her character in the last moments of Mimi’s life is unforgettable and very touching”.

(Ludmila Yablokova) Photo by Catherine Ashmore



2017-07-02,  Schmopera, London
Some of the best singing of the evening came from Vlada Borovko, filling in for Albina Shagimuratova as Aspasia. She seemed utterly comfortable and confident, taking the stage with grace and fleshing out the vulnerabilities of her character easily. Her tone was round and plummy, yet incredibly agile and flexible. Particularly, her quiet singing was something to be remarked on – very well controlled, but it seemed to always be deeply felt. I kept thinking I’d heard her best aria, but then she would impress me again. She opened the opera with a stunning display of vocal fireworks and emotional intensity that was balanced best by the incredibly tender and astonishing “Pallid’ombre” in Act III.
(Patricia Auchterlonie)

2017-07-08,  The Idle Woman, Londonмайкл1

The young Mozart made a point of writing very tricky arias to show off his talents, and Aspasia gets most of the very hard music. Her opening aria, Al destin, che la minaccia, would be demanding even for a seasoned professional, but Borovko pulled out all the stops and delivered that vaulting coloratura with flair. She was a bit quiet for the rest of Act 1, perhaps having exhausted her fire on that crucial first aria, but she came back in Acts 2 and 3. Visually she made a perfect Aspasia: poised, but young, gentle but proud. Of course, in this production there are challenges quite aside from the vocal ones: Aspasia has to negotiate a court mantua approximately six feet wide, which makes the flamboyant tonnelets worn by the ‘men’ look positively sane. Borovko was more than equal to the task: gliding around the stage like a porcelain doll, her emotions as constrained as her costume.
2017-07-29,  OperaClick,
Di gran valore l’Aspasia di Vlada Borovko che sostituisce all’ultimo Albina Shagimuratova, malata.
Borovko, nonostante la chiamata last minute ha dato un’ottima prova di prontezza e abilità scenica, un timbro dal colore chiaro e posato, qualche piccola sbavatura su alcuni passaggi difficili, ma sempre mantenendo salda la concertazione in un’emissione curata della voce. Gli applausi che hanno omaggiato questo cambio nottetempo dicono più delle parole.
(Fabio Tranchida)
2017-07-09,  Crescendo Magazine ,
Le rôle d’Aspasia était clairement une tâche ardue pour Vlada Borovko qui se défendait honorablement.
(Erna Metdepenninghen)
2017-07-16,  A younger theatre, London
Borovko sings powerfully and precisely.
(Dan Rubins) 


2017-07-18,  Opera Today, City of London
Opening the programme with the Act II duet from Verdi’s I due Foscari, Vlada Borovko confirmed my previous impression (not least in last year’s JPYA performance and most recently in the ROH’s L’elisir d’amore ) that she is a soprano of dramatic power and commanding presence, well equipped to master Verdi’s surging vocal lines. She was a stirring Lucrezia, comforting David Junghoon Kim’s Foscari when he learns of his exile and conveying the full fierceness of Lucrezia’s love for her husband and fiery scorn for the scheming clique, the Council of Ten. Later, when the ensemble came together for the end of Act 2 of Don Giovanni, Borovko displayed similar concentration and intensity in Donna Anna’s ‘Non mi dir’.
(Claire Seymour)


2017-06-09,  MusicOMH, Londonsol
The soloists were very strong… Vlada Borovko’s soprano blended perfectly with Lucia Cervoni’s mezzo-soprano in ‘Recordare, Jesu pie’
( Sam Smith )


2017-06-04,  Sunday Express, London
Vlada Borovko is lively as Giannetta, leader of the village girls.
2017-06-02,  Mail Online, London
Russian soprano Vlada Borovko was a strong Giannetta
2017-05-27,  Opera today, Londonлань
Jette Parker young artist, Vlada Borovko, has impressed me in the past (see Oreste at Wilton’s and JPYA Summer Performance 2016 ) and here she was a rich, vibrant Giannetta who relished the opportunity to play to the crowd when delivering the latest gossip about Nemorino – she’s got the news from the haberdasher, so it must be true.
(Claire Seymour)
2017-05-28,  Seen and Heard International, London
the always-reliable Jette Parker Young Artist, Vlada Borovko, was a wholesome and appealing Giannetta.
(Jim Pritchard)


2016-11-09,  The Telegraph, London
The women are ahead of the game here, with Vlada Borovko, Jennifer Davis and Angela Simkin all providing attractive and accomplished virtuosic singing
(Rupert Christiansen)

2016-12-17,  Opera magazine, Jan 2017, London

ORESTE by George Frideric Handel; Jette Parker Young Arists; Royal Opera; Wilton's Music Hall; London, UK; 7 November 2016; Ermione - Vlada Borovko; Conductor - James Hendry; Director - Gerard Jones; Designs - Gerard Jones and Matt Carter; Costume designer - Donna Raphael; Lighting designer - Mimi Jordan Sherin; Movement director - Anjali Mehra; Photo: © ROH Photographer: CLIVE BARDA;
Photo: © ROH Photographer: CLIVE BARDA
Vlada Borovko, as Oreste’s feisty wife Ermione, sang with a light metallic soprano and coped well with coloratura and the advances of king Toante (Simon Shibambu)
(Amanda Holdway)
2016-11-20,  The Guardian, London
Vlada Borovko (Ermione) brought the house down with her furious demisemiquavers.
(Stephen Pritchard)
2016-11-16,  The Cusp , London
Borovko’s shimmering coloratura had a steely accuracy and resolve that made it clear Ermione considered herself a cut above
(Tom Stewart)
2016-11-15,  Express, London
Angela Simkin plays the part of Oreste in a beguilingly mad and twitchy manner, while the other two female cast members, Jennifer Davis (Ifigenia) and Vlada Borovko (Ermione) display gloriously precocious singing talent.
2016-11-08,, London
The plot is almost secondary as operas of the time were more about the music and performances than story. And being a baroque opera, arias abound. This gives the singers the opportunity to indulge themselves and their technique. All the cast are excellent but the standout was Borovko with the arias ‘lo sperai di veder il tuo volto’ and after Toante gives her an ultimatum and she fully understands the horror of her situation with ‘Dite pace e fulminate”. 
(Paul Chapinal)
2016-11-14,  The stage, London
High vocal standards, from Angela Simkin’s psychologically damaged Oreste, Jennifer Davis’s reluctant executioner Ifigenia, Thomas Atkin’s vividly sung Pilade, Vlada Borovko’s spirited Ermione, Simon Shibambu’s grand-scale Toante and with Gyula Nagy an increasingly lairy Filotete – a contralto role transposed for baritone.“(George Hall)
2016-11-14,  Schmopera, London
Soprano Vlada Borovko looked like Park Avenue had stumbled into Brooklyn as Oreste’s wife, Ermione. She sang with a bird-like, clear-as-a-bell soprano that seemed perfectly naïve; her arias – excellently sung – spanned everything from understated and prayer-like to pyrotechnic and wild. The stakes didn’t quite seem high enough for her character arc, however; the threat of rape by Toante felt luke-warm, and Ermione’s turn on the violent leader felt less like a woman taking power, and more like the leadership’s growing slack.
(Jenna Douglas)
2016-11-09,  Broadway world, London
As central couple Oreste and Ermione, Angela Simkin and Vlada Borovko have perhaps the toughest job of all, reconciling the contradictions of Handel’s music and Jones’s direction. Each impressed, though vocally it was Borovko who triumphed thanks to some of the composer’s most generous vocal writing.
(Alexandra Coghlan)
2016-11-08,  Classical source, London
Ermione, Vlada Borovko was especially impressive for the precision of her tricky coloratura which did not come under strain whatever the demands Handel makes.
(Curtis Rogers)
2016-11-11,  Opera Online, London
All soloists are members of the Royal Opera’s Jette Parker Young Artists Programme, and deliver singing of an exceptionally high standard…Simkin, however, only stands as the first among equals as Jennifer Davis as Ifigenia, Gyula Nagy as Filotete, Simon Shibambu as Toante, Vlada Borovko as Ermione and Thomas Atkins as Pilade all play, and most importantly sing, their parts to the full”.
(Sam Smith)
2016-11-10,  A Younger Theatre, London
Russian soprano Vlada Borovko’s performance of Ermione is particularly impressive, as she delivers complex ornamentation with clarity and precision, whilst simultaneously embodying her prim and proper character.
(Emily May)
2016-11-09,  Brian Dickie Life after 50 years in opera and still counting……, London
Super Irish and Russian sopranos Jennifer Davis and Vlada Borovko were moving and stylish Handelians as the much abused young women, and the low life men were Hungarian Gyula Nagy and South African Simon Shimbambu – all these valuable contributors throughout the season to the Royal Opera in so many different smaller roles. Here was their opportunity to shine, and shine they did!
(Brian Dickie)
2016-11-09,  Independent, London
“Acting is strong – we shall surely see more of baritone Gyula Nagy, and soprano Vlada Borovko, who lands in this world like something out of Breakfast at Tiffany’s, and sings with style to match”.
(Cara Chanteau)
2016-11-09,  Culture whisper, London
The Irish soprano Jennifer Davis as Ifigenia, reluctant priestess, and the Russian soprano Vlada Borovko as Oreste’s wife, Ermione, give particularly fine performances that grow and grow in strength. Borovko, as a woman who turns left even on a life-boat, spins her early, pearly sound, as shiny as her nails and pert chignon, into something richly coloured as she overcomes the despot.
(Claudia Pritchard)


2017-02-08,  Schmopera, Londonсиськи
Jette Parker Young Artists Vlada Borovko, Angela Simkin, Thomas Atkins and Simon Shibambuwere full of life and personality as Mademoiselles Jouvenot and Dangeville, and as Poisson and Quinault.” 
2017-02-10,  The times, London
Thomas Atkins, Simon Shibambu, Vlada Borovko and Angela Simkin are agile and deftly blended in the madrigalian ensembles, as are Bálint Szabó and Krystian Adam as the Prince and the Abbé .” 


2016-10-10,  The Stuart Review, London
To discuss just a few of the particular standouts: Vlada Borovko was the first soloist of the night with Glinka’s ‘All was quiet’, Borovko’s voice was simply flawless, I cannot wait to see how her career progresses, definitely one to watch!
2016-10-03,  Schmopera, London
Safe as the programme may have been, the singers and pianists impressed; some of our highlights were the performances by tenor Thomas Atkins, sopranos Jennifer Davis and Vlada Borovko, and tenor David Junghoon Kim.
(Jenna Douglas)


 2016-09-16,  Seen and heard international, Londonфинал
Vlada Borovko was a fine Clotilde (Norma’s confidante)
(CClarke )
2016-09-30,  Culturamente,
Buoni il tenore David Junghoon Kim nel ruolo di Flavio, amico di Pollione, ed il soprano Vlada Borovko nel ruolo dell’ancella di Norma Clotilde, seppur vestita come la Signorina Rottenmeier.“(Marco Rossi)
2016-09-23,, Paris
“Chez les seconds rôles, Vlada Borovko suscite l’envie de l’entendre dans des emplois plus longs : une tradition pour les Clotilde de Royal Opera House.
(Yannick Boussaert)
2016-09-13,  MusicOMH, London
As Norma’s confidante Clotilde Vlada Borovko proved her worth as a rising soprano with a solid technique to listen out for, rounding out her character with skilled yet subtle acting ability.
(Evan Dickerson)
2016-09-13,  The Telegraph, London
Both the Flavio, David Junghoon Kim, and the Clotilde, Vlada Borovko, make their mark in recitative, and Brindley Sherratt is a properly solemn and fearsome Oroveso.
(Rupert Christiansen)
2016-09-13,  Planet Hugill, London
Both David Junghoon Kim and Vlada Borovko impressed in the smaller roles of Flavio and Clotilde.
(Robert Hugill )
2016-09-13,  Opera today, London
The minor roles of Pollione’s friend Flavio and Norma’s confidante Clotilde, were sung competently by two Jette Parker Young Artists: David Junghoon Kim and Vlada Borovko respectively.
(Сlaire Seymour) 


2016-07-18,  Seen and Heard International, London
Nobody had anything less than a good voice but – in my opinion – only three singers genuinely commanded the stage and particularly drew my eyes to them: Russia’s Vlada Borovko, Australia’s Emily Edmonds and England’s James Platt. Singing in Czech and Russian admittedly did cause all of them to be thinking more about the sound of their words rather than their acting; whilst all those involved were obviously happier when later singing in Italian or German.
(Jim Pritchard)
2016-08-01,  Operanews, London
Впечатляюще был исполнен эпизод «Кати Кабановой», где Катерина – наша Влада Боровко – великолепно контролирующая верхние ноты, порадовала нас своим сверкающим тембром и ярким исполнением. В прошедшем сезоне она прекрасно исполнила роль Ксении в «Борисе Годунове», пела Фраскиту в «Кармен», а в марте дебютировала в «Травиате» как Виолетта.
(Людмила Яблокова)
2016-07-17,  Bachtrack, London
Vlada Borovko gave a heartfelt Kát’a, steely top notes confidently placed…
(Mark Pullinger) 


Con ganas nos quedamos de apreciar en roles de mayor enjundia a Vlada Borovko en el breve papel de Anna. Su frase “deh fratelli perdonate, una schiava salvata egli ha” fue suficiente para apreciar la existencia de un material de gran calidad.
(Rubén Martínez)
2016-06-07,  Mark Ronan, theatre reviews, London
The act I trio between Ismaele, Fenena and Abigail was beautifully sung, as were supporting roles, with ROH Young Artist Vlada Borovko notable as Zaccaria’s sister Anna.
(Mark Ronan)


2016-07-16,  MusicOMH, Londonimage
The well-known rebuttal to Mussorgsky that the opera lacked a reasonably important female role proved well founded, but that did not stop Russian soprano Vlada Borovko making the most of her single scene as Boris’ daughter Xenia. It would certainly be welcome to hear her assume more extensive repertoire in future.
(Evan Dickerson)
2016-07-18,  Seen and Heard International, London
Vlada Borovko reprised her excellence as Xenia…
(Colin Clarke)
2016-07-17,  Bachtrack, London
Amongst the more minor roles, nods should go to Jeremy White’s police officer, Nikitich who opened the opera with a powerful, sonorous bass, and Vlada Borovko’s Xenia, the only female role in this version, whose warm soprano was given too little to sing.
(Dominic Lowe)

2016-03-21,  “Anaclase”,

Parmi les autres seconds rôles l’on remarque le soprano russe Vlada Borovko, attachante Xenia éplorée..
( Bertrand Bolognesi)
2016-03-20,  “Sunday express”, London
John Graham-Hall as Prince Shuisky subtly undermines the beleaguered Tsar, and Royal Opera Young Artist Vlada Borovko impresses as Boris’s unhappy daughter Xenia.
2016-03-19,  Schmopera, London
Jette Parker Youth Artist Vlada Borovko was heartbreakingly beautiful as Xenia, Boris’ daughter. She sang with a clear, powerful sound that fit this masculine opera.
(Jenna Douglas)
2016-03-15,  Opera Britannia, London
Fortunately the other parts were of high standard with special mention of Kostas Smoriginas excellent as Shchelkalov (what a gift of a role this is!) and Vlada Borovko as Xenia.
(Sebastian Petit)
2016-03-16,  “Opera Today”, London
And, in the Tsar’s apartments – where a map marks Russia’s territories in red, as if the land is bathed in blood – sweet-toned relief is offered by Xenia (Vlada Borovko), who laments the death of her fiancé, and her Nurse (Sarah Pring), who tries to console her.
(Claire Seymour)


2015-11-17,  An opera notebook, London2 act guardian
An especial mention must go to Frasquita (Vlada Borovko). A fairly small part, but really very wonderful – more noticeable from the front of the stalls than the back of the stalls circle, a commanding presence and really beautiful instrument. I anticpate her in Godunov and I might well plonk for Nabucco too.

2015-10-30,  “Limelight Magazine”, London

Along with Vlada Borovko as Frasquita and Michele Losier as Mercedes, all four provided a welcome freshness to a sometimes pedestrian revival.
(Howard Shepherdson)
2015-11-14,  “L’ape musicale”,
Apprezzabili la Frasquita di Vlada Borovko e la Mercedes di Rachel Kelly.
(Pietro Gandetto)
2015-10-29,  “A young theatre”, London
Of the supporting performers, the pairing of Michèle Losier and Vlada Borovko as Carmen’s gypsy friends must be praised – feisty and in sync with each other, these two are a welcome addition to each of the scenes they play a role in.
(Daniel Perks)
“Opera Online”, London
…while Vlada Borovko and Michèle Losier are excellent as Carmen’s gypsy friends, Frasquita and Mercédès.
(Sam Smith)
2015-10-19,  Seen and Heard International, London
The smaller roles were as well-prepared as everything else seemed to have been: Vlada Borovko and Michèle Losier were a pair of high-spirited foils for Carmen as Frasquita and Mercédès, with Grant Doyle and Timothy Robinson having fun as the conspiring smugglers, Le Dancaïre and Le Remendado.
(Jim Pritchard)
2015-10-20,  Music OMH, London
Her friends Frasquita and Mercédès were strongly characterized by Vlada Borovko and Michèle Losier respectively, and Grant Doyle and Timothy Robinson made their mark as the two smugglers.
(Melanie Eskenazi)


2015-02-04,  “The business online”, Kazan
And the Conservatory student  Vlada Borovko glittered with her absolutely lovely timbre, singing Strawberry Woman gorgeously.
(Elena Cheremnih)


2014-02-16,, Kazan
The quartet of  the main characters  was professionally supported by  the smugglers with their plucky Gypsy friends. These parts were  performed by Kazan soloists Yuri Ivshin, Yuri Petrov, Gulnora Gatina and Vlada Borovko.
( Russian: “Квартет главных персонажей профессионально поддержали контрабандисты со своими боевыми подругами-цыганками. Эти партии исполнили казанские солисты Юрий Ившин, Юрий Петров, Гульнора Гатина и Влада Боровко”.)
(Eugeny Tsodokov)
2014-02-16,, Kazan
I consider it my duty to mention  episodic parts of Crab Man  and Strawberry woman. Kazan soloists Stanislav Shcherbinin and Vlada Borovko managed  clearly show in these brief solo episodes their temperament in combination with refined craftsmanship. 
( Russian: “Считаю своим долгом упомянуть и совсем уж эпизодические партии Продавца крабов и Продавщицы клубники. Казанские солисты Станислав Щербинин и Влада Боровко сумели в этих кратких сольных эпизодах ярко проявить свой темперамент в сочетании с отточенным мастерством.)
(Eugeny Tsodokov)