A UNIQUE VOICE, A TRULY SPECIAL ARTIST WITH A LIFE THAT SEEMS LIKE AN ADVENTURE FROM ANOTHER ERA, BUT WITH GREAT MODERNITY.

Meeting and talking with Maria Ratkova, an artist truly unique in her field, was both fascinating and surprising. In getting to know her better, beyond the operatic singer, the internationally recognized artist and musician, I also discovered the woman and the person, with her immense humanity, humility, and sensitivity. I learned unexpected and captivating details about her family and her life, which indeed feels like an adventure from another time, while still being strikingly relevant today.

Maria Ratkova embodies the charm of the divas of the past, thanks to her unique artistic qualities, her beauty, her extensive travels and performances around the world, and her family’s history. At the same time, she is a person of great simplicity and modesty, fully immersed in contemporary life, managing to impart vibrant relevance to the values that define her.

Maria Ratkova was born in Saint Petersburg into a noble and ancient family where art and culture were part of daily life. She has been an Italian citizen for many years, and President Sergio Mattarella awarded her the title of "Cavaliere al Merito della Repubblica Italiana" for her artistic achievements and volunteer work.

Maria undoubtedly faced challenges growing up with her mother alone, especially navigating the transition from late Soviet communism to the post-Soviet era. She made sacrifices to pursue her studies and later to support her mother, but today she lives in an ancient castle near Rome, proving that life is always full of surprises.

Her mother, Anna Ratkova Tyrkova, was a distinguished musician and university professor, recognized as the musicologist who laid the foundations for decrypting proto-Slavic music. A substantial collection of her work is preserved at the Russian National Library in Saint Petersburg, a prestigious institution dedicated to Mikhail Yevgrafovich Saltykov-Shchedrin, in the manuscript archive.

The women in Maria's family are exceptional, considering that her grandmother was one of the first women to become a doctor in Russia. Maria's mother was also the first woman to become a Maestro di Cappella in two of Saint Petersburg's most important cathedrals, Saint Vladimir and Saint Sampson, but the 1970s were challenging times, especially for Christians.

Maria’s father, Dimitry Mikhaylovich Balashov, is considered one of the most eminent Russian writers, historical novelists, and philologists of all time. There are monuments in his memory, literary prizes, and cultural institutions dedicated to him. He is remembered in Russian and international academic circles alongside great writers such as Leo Tolstoy or Lev Nikolayevich Gumilev. He led an incredible life but tragically died in 2000, a victim of a still unsolved murder.

Listening to Maria speak with endless tenderness about her mother Anna, who sadly passed away in 2014, I also learned that her family’s history includes several high-ranking officers of the Tsar’s fleet, including two admirals. Maria has a deep passion for the sea and seafaring, a tradition passed down through her family. Furthermore, on her maternal side, her family tree traces its lineage to the Royal House of Georgia, the Bagration-Mukhran family. Maria's mother was a prominent member of the "Society of Nobles of Saint Petersburg."

This great family tradition also unfortunately led to persecutions in the past. Her grandfather, Misha (Mikhail Konstantinovich Ratkov), tragically died in a gulag in Siberia.

Maria has always breathed in the rich history and tradition of her family, and this becomes evident when you meet her.

After completing her studies at the Andrei Pavlovich Petrov Musical High School, Maria moved to Singapore, where she continued her musical studies and also studied fine arts and fashion at the "Nanyang Academy of Fine Arts of Singapore." Upon returning to Saint Petersburg, she completed her musical education at the highest level, graduating in Opera Singing, Piano, and Teaching Methodology from the Rimsky-Korsakov Conservatory. Her university degree was later fully recognized in Italy as equivalent to a degree in Opera Singing.

Music led Maria Ratkova to live in various cities, including London. She was even offered a scholarship in the United States, but she couldn’t accept it at the time because she didn’t want to leave her mother alone, with whom she had a close bond. For an opera competition, Maria came to Italy and fell in love at first sight. She said, "I immediately felt at home, as if I had returned from a long journey to my most authentic place of origin."

A captivating and somewhat novelistic detail of her connection with Italy and Rome is an incredible discovery she made about her ancestors. She knew that a great-aunt of hers, Elena Ratkova, wife of Nikolay Georgievich Shleyfer, the last Consul of the Tsar in Italy, was buried in Rome. In 2016, Maria discovered that the tomb of her ancestors was located in the Non-Catholic Cemetery of Rome, next to that of Princess Milica of Montenegro. It was a very moving moment, worthy of a novel from another time.

Since then, Maria Ratkova has considered Italy, and Rome in particular, her true home. She has won awards such as the "Enrico Caruso" prize and many others for opera singing. She has continued to travel, bringing her art to many countries, including Latin America, where she has received honors such as being named an Academic of the Academia Nacional Patriótica Antonio Nariño in Colombia.

Despite the difficulties caused by the war in Ukraine, which forced her to leave Kharkiv, Maria never stopped building cultural bridges, using her music as a form of diplomacy and solidarity.

Maria Ratkova is a warm and approachable woman, humble and respectful, yet she comfortably sits at the table with bishops, cardinals, and princes, enjoying their friendship. She has received the highest dynastic honors and has seen presidents attend her concerts. Despite all of this, she remains a person who treats every human being with the same respect, living all of her experiences with humility.

1. Maria, when did you realize that music and singing would become your life?

Good question.

I began studying piano at the age of 5, or perhaps even a little earlier. You could say that when my dear mother Anna was pregnant with me and conducting choirs in two of Saint Petersburg’s cathedrals, I was already getting used to hearing music.

Joking aside, I can certainly say that without music and singing, it would be like thinking of a lock without a key: I open up through music and art, and music and art are the key to my emotions and creativity. A lock without a key is just a useless piece of metal.

I remember Monserrat Caballé. I was probably 18, and I listened to her in concert in Saint Petersburg: it was fantastic.

There are moments, like encountering such a great singer, when you sense something immense in music, something from the ancient past, but also radiant in the present and wonderful in the future. This irresistible fascination tells you: "Remember, Maria... We were here... We are your home, come back! Let’s continue your journey together."

That’s how I knew I could never live without music and singing again.

2. What was your debut, and with which opera?

During my various studies at the Saint Petersburg Conservatory in the early 2000s, I debuted in several musical pieces, due to the teaching method used in Russian conservatories at the time. We were literally thrown onto the stage almost immediately, with the responsibility of performing in front of a paying audience in a 1,500-seat theater with a large orchestra. Large spaces, large sounds, and great emotions: a real "stress test" designed to assess the students' soloist abilities and skills.

I remember roles such as Marfa in Khovanshchina by Modest Mussorgsky, Olga in Evgenij Onegin by Tchaikovsky, Duenna in Betrothal in a Monastery by Prokofiev, Jocasta in Oedipus Rex by Stravinsky, Dorabella in Così fan tutte by Mozart, Carmen in Carmen by Bizet, and Amneris in Aida by Verdi.

Strangely, I felt very comfortable on stage. Once the initial nerves passed, I never wanted to leave, like when you dive into cold water and, after adjusting, don’t want to get out.

My Italian operatic debut was in 2007 with the role of Octavian in Der Rosenkavalier by Richard Strauss, a joint Italian-Austrian production at the Politeama Greco Theatre in Lecce.

3. Considering the significant impact your mother had on your upbringing, how important is sacred music in your life?

Sacred music was certainly the foundation of my musical life. Classical music, which I listened to every day at home, was also an important part of my beginnings. My mother was also a great pianist, so I heard all the classical greats played by her on the piano before ever hearing them on records or in concert. Additionally, during my early years studying singing at the conservatory, my mother often accompanied me, and at times, she would even accompany other students when needed. She was beloved by all the students and considered a precious resource for my class.

I started very early as part of the musical chapel of Saint Vladimir's Cathedral in Saint Petersburg, where my mother directed the choir. Sacred music was a response to the oppression of the Soviet regime, a moment of freedom, prayer, and beauty in a difficult world.

Even today, I participate in sacred music concerts, which I experience as moments of prayer, and I recall Saint Augustine’s words: “Qui cantat, bis orat” – he who sings, prays twice.

4. What is your favorite role and opera?

I have yet to perform my favorite opera! I am always excited to discover new roles and scores.

Of course, I love many operas that I have already performed in a repertoire spanning at least three centuries of great music in various styles. Among the roles for mezzo-soprano that I love and have performed are Carmen, Azucena in Il Trovatore, Dalila in Samson and Dalila by Saint-Saëns, and other famous roles from the classic repertoire.

There are also lesser-known pieces that I love, such as the Salve Regina by John M. Loretz Jr. and the Ave Maria by Marie-Auguste Massacrié-Durand, which I have recorded live with an orchestra.

However, my favorite role is always the one I am performing at that moment: it is like a new life, a dialogue between Pygmalion and his Galatea.

My favorite role is always “now, here, in the moment,” as the poet said: “Carpe Diem.”

5. How do you feel when you step onto the stage?

At the beginning of a new experience, whether it’s an opera or a concert, I feel nervous, sometimes even a little scared, like I am about to embark on an unknown journey. But once on stage, all the fear transforms into pure joy.

The stage is a new life every time. It’s like riding the waves on a windsurf in the ocean. I feel like I become one with the audience, in a moment of extreme truth and illusion. It is an act of love between the artist and the "sacred audience," a whirlwind of emotions that transports you into the infinite galaxies of the unknown, only to be reborn once again.

6. We know that for your most important events, you prefer to design and create your own evening gowns. Can you tell us more about this fascinating aspect of your creativity?

Yes, it’s true. Since I was a child, I have always enjoyed drawing and creating clothes. I have good manual skills and a natural aptitude for painting.

During my studies in Rome, for example, you could find me selling my paintings on the steps of Piazza di Spagna or in Piazza Navona to support my specialization studies at the Conservatory of Santa Cecilia. I did this to avoid being a burden on my mother, who, after the tragic death of my father, was alone in managing everything.

My studies at the "Nanyang Academy of Fine Arts of Singapore" further developed this talent. Depending on the music I have to perform, I envision shapes and colors inspired by the music itself, and I try to bring these to life by creating dresses that become wearable sculptures.

I have worn my creations all over the world, and I have also made costumes for other productions, always receiving positive feedback.

7. How important is teaching in your artistic life?

Teaching is very important. Being able to share what I received from my teachers is a natural instinct. The learning and teaching channels are closely connected.

One never stops learning, and even during a lesson, you reinforce and deepen your own knowledge. I have had wonderful experiences, especially in Latin America, where I held masterclasses and taught at the Conservatory of La Paz in Bolivia and at the “Ars Nova” Academy in Colleferro, Italy.

8. What are the foundations of your lessons, masterclasses, and workshops?

My lessons are based on the technique of opera singing, both for beginners and those looking to perfect their skills.

A large part of my teaching also focuses on stagecraft: it is impossible to separate singing from movement. Posture, gestures, and facial expressions are closely tied to vocal technique.

I wrote a book on this topic, "Opera Theater, Vocal Technique, Stage Art, and Techniques for Operatic Interpretation", published in Italy and translated into Spanish. It has been adopted in several universities and conservatories in Colombia, Bolivia, and other Spanish-speaking countries.

9. What is art to you?

Art is love. It is endless work and a constant form of engineering with a 360-degree vision.

Art is the ability to put yourself in someone else’s shoes to find the right path, the right compromise.

Art is hope, medicine for the soul and the body. Art is peaceful joy and growth for humanity, and perhaps the best form of diplomacy that exists.

Art is beauty, memory, innovation, interpretation, wonder, contact, and solitude at the same time. But let me say this: above all, art is "Work" — not a hobby, not just business, not merely a company and balance sheets, and not a pastime to chase away boredom and the sense of uselessness that invades the contemporary world. Art is "Work" and discipline, and as such, it must be respected, protected, and supported by the state and society, which owes its deepest and best identity to art and culture.

di Michael Ray