The bravura aria from Borodin’s “Prince Igor” gave both artists a chance to shine, the baritone’s canny sense of drama matched by Kurdina’s almost savage grace at the keyboard. “Maria, dearest Maria” from Tchaikovsky’s “Mazepa”, was an equally impressive vehicle for the pair, beautifully judged and impeccably ardent.
F. Paul Driscoll, Opera News
Mr. Hvorostovsky’s able and supportive collaborator was Yelena Kurdina, who was at her best in the appealingly detailed accompaniments to the five Tchaikovsky songs and an aria from “Mazepa."
Allan Kozinn,The New York Times