Ukrainian soprano Kseniya Bakhritdinova is a laureate of several prestigious competitions, including the All-Ukrainian Singing Competitions and the International Christmas Competition in Belarus (2017). She studied at the Mykola Lysenko Lviv National Music Academy (2008–2013, MA), graduating from both the Department of Solo Singing (class of Prof. A. Dashak) and the Department of Solo Piano (class of Prof. Maria Krushelnytska).
From 2016 to 2025, Kseniya has been a soloist of the National Opera of Ukraine in Kyiv, where she has appeared in leading roles such as Cio-Cio-San (Puccini’s Madama Butterfly), Micaëla (Bizet’s Carmen), Mimì (Puccini’s La bohème), Tatyana (Thaikovsky’s Eugene Onegin), Liu (Puccini’s Turandot) and Juliet (Offenbach’s Les contes d’Hoffmann).
Since autumn 2025 she is a soloist of the Lithuanian National Opera and Ballet Theatre. Her recent and upcoming engagements include Donna Anna (Mozart’s Don Giovani) at Bayerische Staatsoper in Münich, Tosca in concert with the Lithuanian State Symphony Orchestra, Senta in Wagner’s Der fliegende Holländer at Opera Hedeland, Elisabetta in Verdi’s Don Carlo and Giorgetta in Puccini’s Il tabarro at the Lithuanian National Opera, as well as Violetta in Verdi’s La traviata at Kaunas State Musical Theatre.
She has also performed Donna Anna (Mozart’s Don Giovanni), Aida (Verdi’s Aida) at the Lithuanian National Opera, and Liù (Puccini’s Turandot) at Opera på Skäret in Sweden (2025). Among her recent successes are Minnie in Puccini’s La fanciulla del West at Opera Hedeland — an interpretation that earned her the 2024 Singer of the Year award from CPH Culture — and her acclaimed debut as Amelia in Verdi’s Un ballo in maschera at Opera på Skäret (2022). She has also collaborated with the Swedish Chamber Orchestra and performed Andrew Lloyd Webber’s Requiem with the Kaunas Symphony Orchestra under the baton of Konstantin Orbelyan.
Alongside her work in Ukraine, Kseniya maintains an active international career with performances across Austria, Germany, Poland, Sweden, Denmark, Switzerland, Norway, Finland, Kazakhstan, and Lithuania. In 2018 she collaborated with Riccardo Muti at the Ravenna Festival (Italy), represented Ukraine at the International Music Festival in Algeria, and made her Israeli debut as Tatyana in Tchaikovsky’s Eugene Onegin.
Earlier engagements include the Mozart Opera Festival in China (2016), Cio-Cio-San at the Maria Bieșu Festival in Moldova, and Rachmaninov’s The Bells at the Contrasts Festival in Poland (2017).
From 2013 to 2016, she was a soloist with the Kharkiv National Opera and Ballet Theatre, where she performed roles such as Donna Anna (Don Giovanni), Desdemona (Otello), Iolanta (Iolanta), Tatyana (Eugene Onegin), Liù (Turandot), and Cio-Cio-San (Madama Butterfly).
Tosca (concert), Lithuanian State Symphony Orchestra, 2025
She agreed and learned the role - one she had never sung before - in an extraordinarily short time, just ten days. To be honest, I was impressed by her determination, diligence, and the result she achieved - her Tosca sounded commendable, with all the necessary dramatic accents and a solid vocal level. Puccini’s music seemed to liberate the soloist’s personality, revealing previously unheard overtones, colors, and new vocal resources. Ksenija’s Tosca, even without makeup or stage attributes, lived a full-blooded life - the kind envisioned by the composer.
- 7md.lt, Živilė Ramoškaitė
Neprilygstama „Toskos“ interpretacija
Un ballo in maschera, Opera på Skäret
●●●
One of the best parts of the soloist is Desdemona, in her performance not only convincingly young next to the courageous Othello, but also full of harmonious femininity and self-esteem. That is why the pinnacle of Xenia as an actress, creating an image by stage-vocal means, is the third act in this role - the scene of desecration of Desdemona.
[…]
As already mentioned, Bakhritdinova has a bright talent on stage: texture, voice, personality content and acting abilities.
- izvestia.kharkov.ua
https://izvestia.kharkov.ua/culture/opernaja-geroinja-novogo-pokolenija/
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