Kleyn, Yana - Soprano

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G. Verdi - Tacea la notte - Di tale amor (Il Trovatore)
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G. Puccini – La Bohème – Mimì – Østre Gasværk – 2019
But it was the small soprano Yana Kleyn who received standing ovations at the premiere. With an exciting voice, that has a surprising expansion, creamy, dark and big voice, she practically sounded like listening a mini-Netrebko. Under her red beret she was hiding the perfect combination of despondently sweetness and radiating a powerful vocal. Collapsed in the worn-out chairs of the Boehme’s, she carried the ending on her slender shoulders with the other singers as extras. A super strong performance.
– Thomas Michelsen – Politiken
…Yana Kleyn as the weak seamstress Mimì, the absolute central figure of the opera, and each of her phrases are shining in competition with the moon. In the same way as her Michaëla at Opera Hedeland this summer, Yana Kleyn has a formidable ability to project the weeping, love and desperation with her voice. Kleyn must be among the greatest interpreters of Mimì in the world.
– Casper Køller –
A true rising star is Yana Kleyn, who deeply touched us with her sweet and loving Mimì, who really did not deserve to die. Her voice is wonderfully transcending to the deeply touching.
– Kim Reich – Ascolta Opera Magasin
The slender Yana Kleyn of Russian origin, with a soprano that effortlessly catches everything from shy advances at the Boehme’s, over the exuberant wildness of the café, to soprano sighs at the atelier where she gets some warmth on her deathbed.
– Gregers Dirckinck-Holmfeld –
G. Bizet – Carmen – Michaëla – Opera Hedeland – 2019
Yana Kleyn’s Michaëla convinced with a emotion filled sound, vocal technique to perfection and an accurate interpretation of the character that made us feel the pain of Don José’s abandoned girlfriend.
Rie Hammer –
G. Puccini – La Bohème – Mimì - Opéra-Théâtre Metz Métropole – September 2017
Yana Kleyn, a name to remember.
Mimì shines through the opera. Her vocal and dramatic presence touches us…
It is the first French appearance of Yana Kleyn, a great lyric soprano in amazing ways. Familiar with the role, the young Russian, who resides in Denmark has everything: the timbre, a wide vocal range, the broadest dynamic palette as well as physical and real dramatic presence. The delicacy, the fragility, the sweetness of MimÍ and the strength of her love finds here an exceptional interpreter.
A powerful voice that knows how to use mezza voce and has the pianissimos of dreams, with a rare breath length, she gives herself away to lyricism in her first arias, with very restrained tempi, without overplaying and with an ease and naturalness that brings out admiration.
It is at the last two acts that reaches the climax of her voice. The third act, "Rodolfo m'ama" and finally the poignant "Sono andati" are ideally sung. A name to remember.
– Yvan Beuvard –
The audience expectations, waiting for Mimi, will be fulfilled: Yana Kleyn is such a Mimì, with a superb vocal, which she uses to give life to the discreet, sincere, passionate, fragile and moving heroine. She has the youth of the character. Still unknown in France, which is a mystery, her international career attests her extraordinary qualities as a lyric soprano in perfect match with the work of Puccini. Of course, her arias are sung wonderfully, but also the duets ("O soave fanciulla" especially), ensembles and, above all, recitatives (what a 3rd act!).
Mimì’s movement on stage, like her partners, is of a rare accuracy. Yana Kleyn certainly shows herself in the best light. "Rodolfo m'ama", then the "Donde lieta" were they ever better sung? The duo of Mimi and Rodolfo, together with the quarrel between Marcello and Musetta, reached a peak. … The emotions grip us.
– Albert Dacheux –
The evolution of Mimi, incarnated by the Russian soprano Yana Kleyn, is honorable, without anything forced or indifferent. It is first and foremost a flickering, modest and touching flame, with a delicate timbre and interesting power, pleasantly exalted when singing of the spring, then more seductive, discreet but still inflamed to Rodolfo whom she cannot resist.
– François Cavaillès,
Yana Kleyn as Mimi was at her very best, a beautiful voice, with a clearness in the diction and fantastic high notes, who shined on top of the orchestra even in strong fortissimo. She also managed to present the difficult role very well, in a good stage direction, where she first is a fresh young girl, and then we feel through her appearance, that her sickness is taking over, and in the end dying.
– Henning Høholt – Kulturkompasset
G. Verdi – Otello – Desdemona – Savonlinna Opera Festival – July 2016
Yana Kleyn’s Desdemona is sensitive and girly, like Shakespeare’s writing requires. The tenderness of the very young girl comes alive especially in the Piangea cantando, where Kleyn feasted with extremely sensitive nuances. The very quiet parts of her performance expressed the held-back agony and fear of death in a touching manner. There is also power and melody in her voice when needed, and her voice keeps its warmth and agility even when using this power.
Riitta-Leena Lempinen-Veta, Itä-Savo
G. Puccini – La Bohème – Mimì – Royal Opera Stockholm – November 2015
(The Bohème) is light and full of fantasy, with solid musicianship and a splendid Yana Kleyn as Mimì….. Yana Kleyn must be one of the world’s greatest Mimì interpreters, with both seriousness and presence. Her voice is as soft and shining as the silk she embroiders.
– Bo Löfvendahl – Svenska Dagbladet
YK is superb as Mimì, especially in first and last act, and she has certainly come a long way since I heard her for the first time as Mimi at Opera på Skäret.
Mogens H Andersson,
The superior singers are all Swedish (except the brilliant Russian soprano Yana Kleyn’s Mimì).
– Gunilla Brodrej – Expressen
The singers are another major reason to watch the show. Yana Kleyn as Mimì - I just say WOW.
Rosemari Södergren,
B. Britten – The turn of the screw – Miss Jessel – Maggio Musicale – May 2015
…and Yana Kleyn that with her rich vocal gifts (and with special makeup and costumes) gives an unusual importance to Miss Jessel.
– Fabio Bardelli –
Yana Kleyn’s Miss Jessel makes an impression with her expressive singing in a dark imaginative costume.
– Ilaria Bellini -
The text and singing of Yana Kleyn’s Miss Jessel, is beautiful, floating and glassy, well fitting for a ghost….
– Francesco Lora –
Yana Kleyn (Miss Jessel) is on the contrary a soprano with a full lyric voice, a powerful top register and with shades of mezzo soprano in the rest of her voice.
– Nicola Lischi –
Yana Kleyn descends with great involvement into the role of Miss Jessel and with a costume and make-up that makes a strong impression.
– Fabrizio Moschini –
G. Puccini – La Bohème – Mimì – Danish National Opera – October 2014
The choice of tenor César Gutiérrez and the Russian soprano Yana Kleyn couldn’t be more appropriate. If Yana Kleyn is not already a world star, she will become that very soon, and her voice fits well with C. G. who with his southern warm timbre was a joy for the ears.
A result on the whole who would have made Puccini even more proud of his masterpiece…
– Rachel Einarsson – Jyllands-Posten
The Soprano Yana Kleyn sang Mimì into the hearts of all people. She was in top form; she toned down her outer appearance to the minimum thus making her inner appearance grow that much more. She is a wonder of sweetness and poetry, inner glow and elementary vocal composure.
– Jens Henneberg – Nordjyske Stifttidende
Gala Concert – Aalborg Symphony Orchestra – May 2014
From Tchaikovsky's opera "Eugene Onegin" we heard Tatyana's letter scene, performed by the Russian soprano Yana Kleyn , with equal parts of sadness , longing and moving passion. Kleyn’s expressive soprano shifted effortlessly between the clean, focused and bright soprano timbre, the hurting, slightly dark colored tone and the large, fiercely passionate explosions.
All sung in Russian, yet comprehensible down to the very last detail. Gamba controlled Tchaikovsky's light, moving orchestral arrangement and followed Kleyn in the very finest of nuances.
Kleyn’s encore was Tchaikovsky's small orchestra song, "Was I not a little blade of grass" that emerged with a more simple and delicate expressions of folklore undertones, delivered just as thoroughly musical and focused.
– Tore Mortensen – Nordjyske Stifttidende
W. A. Mozart – Don Giovanni – Donna Anna – Royal Opera Stockholm – March 2014
Donna Anna as a character is like her father, the Commendatore, rather statuesque, but she has some of the most marvellous dramatic arias to sing and Yana Kleyn was absolutely superb: strong, steady, brilliant! I have followed her development since she first appeared outside Russia in 2010 and here she is now, on the threshold of stardom.
– Göran Forsling – Seen and Heard International
There remains however a supreme celebration of singing, where the Russian soprano Yana Kleyn sings as if her life was on stake and makes the air in the hall vibrate.
– Gunilla Brodrej – Expressen
The Russian discovery Yana Kleyn, who made her much-acclaimed Swedish debut at the Opera on Skäret two summers ago as Mimi in La Bohème, is splendid. The Revenge Aria in her interpretation justly receives thunderous applauses at the premiere.
– Patrik Uhlman – Katrineholms-Kuriren
Sensational Russian soprano Yana Kleyn brings dark passion and intensity to her portrayal of a woman torn between her lust for the Don, and the loyalty to her father.
– Sofia Nyblom –
Yana Kleyn as Donna Anna is the one of the female singers who impresses the most with her clear and obvious soprano.
– Michael Bruze – Norrköpings Tidningar
Yana Kleyn who we heard recently as a delightful Liù in “Turandot”, ……, are highly determined and magnificent, a Donna Anna of the more dramatic kind.
- Bo Löfvendahl – Svenska Dagbladet
The strong woman, radiantly interpreted by Yana Kleyn and Elin Rombo, described as being considerably more complicated, disclosed as they are with their conflicting extreme emotions.
– Jan Kask – UNT.SE
B. Britten - War Requiem – Aalborg Symphony Orchestra – May 2013
… and the 3 soloists, Yana Kleyn, Benjamin Hulet og Mark Stone delivered their parts with an immense expression and presence, making Britten’s music both contemporary and present.
– Tore Mortensen, Nordjyske Stifttidende
Giuseppe Verdi – Trovatore – Leonora - Royal Opera in Stockholm – April 2013
The performance of the ladies where very strong this night… and above all it is Yana Kleyn, who even in this production, is the big star. It is without a doubt a strong accomplishment to be able to sing the role of Leonora, which differs so much from Liù, which she recently had so much success with.
It shows an big and deep width as an artist to be able to handle these big roles, one very lyric and the other dramatic and wide, but it is a challenge which Yana Kleyn handles with excellence.
– Mogens H Andersson,
G. Puccini – Turandot – Liù - Royal Opera in Stockholm – February 2013
The performance has such an abundance of talent and stars. Liù sung by Yana Kleyn who appeared so little and young, made a big impression on me. Absolutely amazing, with her soft silky voice compared with Turandot’s strong voice of power and despair. What a meeting!
One singer who won my and the audience’s heart was Yana Kleyn as Liù. She sang with such warm and naked expression that the whole room was holding its breath. It is a joy to hear a voice with such pureness, flexibility, focus and stage presence.
But the singer that – possibly – endeared the audience most of all was the diminutive but truly lovely Liù of Yana Kleyn. This young Russian soprano sang Mimi in La bohème and Micaëla in Carmen at Skäret in 2010 and 2011 respectively to great acclaim but she has developed further since then and her singing here was a revelation, unforced, unexaggerated and the loveliest pianissimo singing imaginable – and she was also greeted with ovations after her first act aria Signore, ascolta.
– Göran Forsling, Seen and Heard International
"The evening’s third star is the young Yana Kleyn. She was already glowing three years ago as Mimì in "La Bohème" at Opera on Skäret, but her Liù is a pure sensation, touching, straight forward and proud."
-       Bo Löfvendahl, Svenska Dagbladet
I just want to state that the real true sensation this February night was the young Russian soprano Yana Kleyn, and that she would have success I was completely convinced about a long time before the performance. She is to be considered a pure sensation and now also for the audience of Royal Opera to see. It is not her debut here, but her role debut done with all necessary brilliance and pomp. I want to hear more of Yana Kleyn….

Yana Kleyn, a young Russian soprano, triumphed as Liù, spinning out gorgeous lines with a very beautiful and rather large instrument… “Signore, ascolta” … being marvelously sung – especially the death scene.
– Aksel Tollåli,
So musical – Yana Kleyn as Liu and Riccardo Massi as Prince Calaf should also be celebrated.
Per Feltzin, Kulturnytt – Swedish Radio
The self-sacrificing servant girl Liù, Yana Kleyn, has a very original and convincing soprano.
– Ditte Hammar,
The self-sacrificing Liù (a glowing Yana Kleyn) is not percieved, which you usually see, as the only real human beeing in the opera.
– Gunilla Brodrej, Expressent
B. Britten - War Requiem – Copenhagen Philharmonic – October 2012
Yana Kleyn was completely magnificent in “Lacrimosa dies illa“, where she mixes her singing with the choir. It was so beautiful and magnificent that it thrilled your whole body.
– Jens Dreyer –
The soloists where outstanding. They lifted the big job, with the young Russian talent Yana Kleyn, as such a complete and perfected dramatic soprano, in the multitude of the choir and big orchestra’s imposing army, that she fully could bear her elevated placement in the human sea. … She will become a big singer.
– Thomas Michelsen – Politiken
The soprano Yana Kleyn impressed with her easy high notes and piercing power though almost testing your ears with it’s over tone density.
– Camilla Marie Dahlgreen - Information
G. Verdi - Il Trovatore - Leonora - Royal Opera in Copenhagen - November 2011
The best of the evening is anyway Russian Yana Kleyn and British Yvonee Howard. The first a rising star, but already now clear as the sun on her highest notes…
But the theater halls all over the country will be grateful for the good music, for the orchestra and choir - and especially for the meeting with Yana…
– Søren Schauser - Berlingske Tidende
All in all, it was really the night of the ladies. They could act and they could sing. Yana Kleyn created with her dramatic coloratura’s dazzling moments, where she used the many colorful timbres of her voice in the sweetness filled arias.
– Jens Henneberg - Nordjyske Stiftstidende
Kristian Benedikt 40 Year Gala Concert - Vilnius, Lithuania - November 2011
Outstanding KRISTIAN BENEDIKT GALA in Vilnius.
Followed by Amelias aria “Morro” from Un Ballo di Mascera – sung by the wonderful young Russian soprano Yana Kleyn, Il Trovatore the duet between Leonora and Count Luna, - Yana Kleyn and Lars Fosser. This was fantastic. Very high musical quality, where the young soprano also got the possibility to show her brilliant coloratura. This duet was one more of the many highlights in the concert.
This was followed by another highlight Yana Kleyns beautiful performance of Michaela aria…
– Henning Høholt - Kulturkompasset
A Jussi Björling Centenary Memorial - Opera på Skäret - August 2011
The young Russian soprano Yana Kleyn, who made her international debut as Mimi in last year’s production of La bohème at Skäret, was the first soloist and she sang a finely nuanced, soft and innocent O mio babbino caro from Gianni Schicchi…
Kleyn and Benedikt then returned for the beautiful love duet that ends the first act of Otello… Yana Kleyn, who has yet to sing Desdemona on stage, impressed with some celestial pianissimo singing…
Don José – Micaela duet from the first act, more inspired it seemed than at the premiere two weeks earlier. Ms Kleyn is a lovely Micaela…
One of the highlights then followed with Yana Kleyn’s sensitive Io son l’umile ancella from Adriana Lecouvreur. Her voice is not creamy in the Tebaldi or Kiri Te Kanawa mould but the slightly fluttery tone gives her readings a sense of vulnerability that is most affecting…
– Göran Forsling -
G. Bizet – Carmen - Micaela - Opera på Skäret Festival, Sweden - August 2011
Yana Kleyn, the young Russian soprano who sings Micaela has a rich timbre and big ring to her voice. One has a feeling she will get bigger roles in the future…
The height of the performance is Micaela’s aria in the third act… Yana really makes your heart burn in this aria and a sold out hall cheers.
– Anne Pettersson - Dala-Demokraten
The soprano Yana Kleyn’s Micaela is sung with devoted expression and a glowing beautifulness….
– Karin Helander - Svenska Dagbladet
In terms of voices there is little to complain about with the soloists this year… a dear singer returning is the Russian upcoming star Yana Kleyn, who sang Mimì in last year’s Boheme. This year she makes a vulnerable and heart-rending Micaela and receives (very deserving) the biggest and longest applause of the night for her aria in third act….
– Måns Uggla - Nerikes Allehanda
Don Jose… who takes the chance and kisses the innocent Micaela (an intensely lyric Yana Kleyn).
– Sara Norling - Dagens Nyheter
Micaëla made the sun come through the clouds (of the performance) through her aria…
Yana Kleyn, who sang Mimi in last year’s La Bohème at Skäret, was a suitably innocent-looking Micaëla in light-blond wig. Her fluttery voice has warmth and she was touching in her aria in the third act, which received the longest applause of the evening.
– Göran Forsling -
Russian soprano Yana Kleyn received the biggest applause of the night after her very emotional prayer for help from above...
Christer Eklund - Mora Tidning