# Italy Was Already in Her Voice - Is Viktoriia Zadvorna Finally Coming Home? > From opera stages and Brazilian concert halls to an Italian chapter years in the making, the soprano turns a lifelong musical affinity into a new artistic home.  For Viktoriia Zadvorna, Italy is… - Source: Monaco Day - URL canonique: https://monacoday.com/article/italy-was-already-in-her-voice-is-viktoriia-zadvorna-finally-coming-home - Auteur: Alisia Born - Rubrique: Mode & Style - Publié: 2026-10-06T08:36:45.264Z - Mis à jour: 2026-10-06T08:36:45.264Z - Mots-clés: Viktoriia Zadvorna - Édition anglaise: https://monacoday.com/en/article/italy-was-already-in-her-voice-is-viktoriia-zadvorna-finally-coming-home --- From opera stages and Brazilian concert halls to an Italian chapter years in the making, the soprano turns a lifelong musical affinity into a new artistic home.  For Viktoriia Zadvorna, Italy is not a fashionable destination suddenly added to an international career. It is closer to a recurring theme - one that appeared in childhood, returned through vocal training and repertoire, and remained present as her work took her across Europe and South America. Now that relationship is changing. The country that lived for years inside her music is set to become part of her everyday life.  Zadvorna's professional map is unusually broad. Her career began in Ukraine, where she was a soloist with the Donetsk Philharmonic and worked in musical and drama theatres in Donetsk and Kyiv. Later came Brazil, including appearances at Teatro Bradesco in São Paulo and Teatro Pedro II in Ribeirão Preto, as well as collaboration with the orchestra of the USP music academy. Germany, Poland, Austria, France and other European stages followed.  Yet one musical language kept returning: Italy's. Zadvorna describes an early fascination not only with opera but with Italian songs, regional melodies and what she sees as a distinctive union of beauty and emotional openness. Professional training deepened that attraction. Italian vocal tradition, language and repertoire became central to her work, alongside a family history that also contains an Italian connection.  Her relationship with the Italian school was practical as well as emotional. She attended masterclasses with bass Bonaldo Giaiotti and took part in international competitions and masterclasses in Sicily. The lesson she draws from that tradition is simple but demanding: a beautiful voice and secure technique are not enough. Word, breath, emotion and story must animate the musical phrase.  That philosophy explains the scale of the Italian repertoire in her professional life. Vivaldi, Monteverdi, Pergolesi, Caccini, Rossini, Donizetti, Verdi, Puccini and Bellini all belong to the musical territory she repeatedly revisits. But Zadvorna is equally interested in Italy beyond the canonical opera house. Regional songs, dialects and local melodic identities fascinate her because, in her view, they reveal a country through the histories of particular people and places.  This curiosity became a concert project: Splendore Italiano - Der Glanz der italienischen Seele. Presented in Germany with a string ensemble, it was conceived not simply as a sequence of famous Italian pieces, but as an attempt to give audiences the feeling of having spent an evening inside Italy. For Zadvorna, the project also represents cultural dialogue: Italian culture travelling through a performer with a Slavic background to a German audience. Her career has repeatedly tested how music changes when it crosses borders. Brazil, she says, offered an especially emotional exchange between performer and audience. It was there that the name Anjo da Música - "Angel of Music" - became associated with her. The name was not created as a calculated stage persona; it emerged from a country where she performed extensively and experienced an important period of her professional life. She continues to use it, including through her official Instagram identity, @anjovik_zdv_opera.official.  Europe offered another kind of listening: often more outwardly restrained, but intensely attentive to detail. Zadvorna values both responses. Different audiences, she believes, turn every concert into a different conversation, while the most powerful musical moments can make national differences suddenly feel less important. That idea also shapes her refusal to remain inside a single genre. Classical training is her foundation, but not a border. Alongside opera, her repertoire includes crossover, musical theatre and contemporary music, with works such as Con te partirò, Canto della Terra, Nella Fantasia, Sogni and Adagio, as well as material from The Phantom of the Opera, Cats and Jesus Christ Superstar. She has even developed a programme of operatic arias in rock arrangements with symphony orchestra.  For purists, such combinations can be provocative. Zadvorna sees them differently. She is not replacing classical music, she says, but demonstrating what a classically trained voice can do. If crossover becomes someone's first encounter with an operatic voice and later leads that listener toward opera itself, she sees no contradiction. A living classical tradition, in her view, must also be capable of speaking to new audiences.  There is another dimension to her work: composition. Her portfolio includes original songs and instrumental music, an area she intends to develop further. Interpretation allows an artist to enter the world of a composer, poet or dramatist; creating original music, she says, opens a more personal interior world to the listener.  And now Italy is no longer only repertoire. Zadvorna hopes to perform there with orchestras, chamber ensembles and solo programmes, participate in opera productions, develop crossover projects and continue exploring the country's regional music. At the same time, she does not want Italy to replace her international career. She imagines it instead as a new artistic point of reference - a place from which the music can travel outward again.  Perhaps the most intriguing reversal is this: for years, Zadvorna carried Italian music to audiences elsewhere. Now she wants to bring to Italy some of the other musical worlds that formed her. The exchange, rather than a one-way arrival, is the point. So is this move a departure or a return? Emotionally, Zadvorna leans toward the latter. Italy appeared in her music long before it became a possible address. The next chapter will ultimately be decided not by geography, but by the encounter with listeners. For a singer who has spent a career crossing borders, home may be the place where life, creativity and audience finally meet. --- Publié à l'origine par Monaco Day. Libre de citation avec attribution et un lien vers https://monacoday.com/article/italy-was-already-in-her-voice-is-viktoriia-zadvorna-finally-coming-home.