The Russian-born soprano Alla Perchikova graduated from the famous Rimsky-Korsakov Music Conservatory in St.Petersburg, Russia. When a student, she was already performing at the world renowned Mariinsky Theater (Freia in Wagner’s Rheingold) under the baton of maestro Valery Gergiev.

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As a member of the Academy for Young Singers (1999-2006) she was gaining her experience at numerous masterclasses with Ileana Cotrubas, Renata Scotto, Placido Domingo, DennisO’Neil, Tom Krause. During that time, she had also been engaged in festivals and Guest performances in Finland and Germany with many great musicians and directors such as Michael Güttler, Larissa Gergieva, Justus Frantz, Johannes Schaaf, and Julia Pevzner.

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She started performing in Israel – at the New Israeli Opera in Tel Aviv, she sang Maria in Tschaikovsky’s Mazeppa.
Along with that, she sang Liza in Tschaikovsky’s Piqué Dame at the Helicon Opera in Moscow.

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Ms. Perchikova is a winner of numerous competitions: the Belvedere competition (Karlovy Vary), and an array of voice competitions in Russia and Italy. During 2002-2005, she was granted the Graf zu Solms-Laubach scholarship.

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In 2006, Alla Perchikova moved to Germany, where she worked in Erfurt, Koblenz and Meiningen, a large number of guest appearances in Frankfurt (Alte Oper), Cottbus, Krefeld, Mönchengladbach, and Braunschweig. She has worked with such musicians as Walter Gugerbauer, Anton Marik, Hans Urbanek, Dorian Keilhack, Philippe Bach, Michel Küsten, Srba Dinic, Philipp Kochheim, Marcus Everding, Christine Mielitz, Ansgar Haag, Saskia Kuhlmann, and Wolfgang Gratschmaier.

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Since 2015, Ms.Perchikova has been mastering her dramatic soprano with Professor William Johns. She focuses on the roles in Wagner’s and Verdi’s operas, as well as verismo by Puccini, Mascagni, Giordano, and Ponchielli.

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In March 2019, she sang in the concert  “Viva Verdi!” at the National Opera Center in NYC, with several artists of our roster and special guests, tenors Francisco Casanova and Kristian Benedict. She was highly praised by the reviewer  as she “excelled in “Vieni t’affretta” from Macbeth in which she limned Lady Macbeth’s resolute character by judicious use of her fioritura. The last time we enjoyed that aria as much was when we heard Lauren Flanigan sing it.” (Voce di Meche)

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