Soprano Elizaveta Kozlova: A Singer and a Leader

The modern world of classical music is in dire need of singers who are also great leaders, initiators of innovative musical projects, and insightful concert series. NYC-based soprano Elizaveta Kozlova is a perfect example of a performer who has achieved vocal excellence as well as excelled in producing and interpreting cutting-edge musical concepts.

A winner of two Encouragement Awards at the Metropolitan Opera Laffont Competition in 2024 and 2026, as well as a jury member at the 2025 Follow Your Heart Film Festival in Miami, Elizaveta spoke to us about her musical projects and performances.

— Elizaveta, you have worked with numerous composers on world premieres that were written specifically for your voice. Could you talk about your performance at the Museum of Jewish Art and History in Paris, France?

— Of course! This was one of the highlights of my career! Renowned French composer Robert Piéchaud had written two pieces on the poems by Marc Chagall for my interdisciplinary project. The Chagall Project involves setting Marc Chagall's poetry to music and creating concerts that explore how music is inevitably connected to the artistic universe of this legendary painter. I performed the world premiere of Far di kinstler-kedoyshim together with an outstanding French quartet, Odysée. This performance was a true stepping stone in the history of the museum, as it was the first time when a world premiere piece was presented at the Museum of Jewish Art and History in Yiddish.

— Another episode of your artistic biography comes to mind—the New York premiere of Into Air by Alex Mills. Could you talk about this memorable and notable interdisciplinary undertaking?

— Carnegie Hall invited me to be a part of this performance in 2024. The performance took place at the Shed, one of the most exciting contemporary performance venues in NYC. I was truly honored to not only be hired as a singer but also a producer; hence, I was responsible for selecting and hiring the other singers in the performance. This gave me true creative freedom and agency. I loved that the piece that Alex Mills composed was synced in its length to a digital artwork by Dawn Ng, and we, as singers, were creating a truly immersive interdisciplinary experience for the audience.

— Your two Encouragement Awards at the Metropolitan Opera Competition—what an achievement! How do you manage to be so versatile—performing standard operatic repertoire, contemporary works, as well as Baroque music at the same time?

— It is all about being grounded in vocal technique, as well as being in constant artistic development. My creative energy is what keeps me going. When it comes to competitions, I treat them as performances, as a way for me to share my artistry and my passion for the repertoire. Both times I received the Encouragement Award, I sang "Non Monsieur mon mari" from "Les Mamelles de Tirésias" by Francis Poulenc—he's one of my favorite composers!

— You have a very exciting Baroque music project coming up with the Instituto Cervantes in NYC. You are not only singing in this project, but also leading it as a curator. Can you give us some details about this concert series, please?

— Yes! I am curating a series of four concerts of Baroque music from Spain and the Americas. I feel so lucky and honored that the Instituto Cervantes entrusted me with this position! It is always such a joy for me to take care of every aspect of a concert—repertoire, concert, choosing the other performers. I can't wait to bring the sounds of Peruvian, Bolivian, Mexican, and Spanish Baroque music to the Instituto Cervantes! Being in charge of a project in such a meaningful way has always been a dream of mine, and I can't believe that it is coming true!

— You served as a jury member at the Follow Your Heart Film Festival in Miami in 2025. What was that experience like for you?

— It was an incredibly inspiring experience. I was part of an international jury evaluating filmmakers whose work blends music and visual storytelling in meaningful ways. I loved seeing how directors use sound and voice to deepen emotional impact. I felt both responsibility and joy—supporting emerging artists and giving space to creative voices that deserve to be heard.

— You have performed a wide range of operatic roles—from Mozart to Baroque to contemporary works. Which roles have been especially meaningful to you?

— Each role has given me something unique, but Servilia in La Clemenza di Tito and Anna I in Die sieben Todsünden were particularly significant. Servilia allowed me to refine my classical phrasing, while Anna I was a true artistic challenge, both vocally and dramatically. I also cherish roles like Doralice, Gretel, and Susanna—they helped me expand my range and shape my artistic identity

Elizaveta Kozlova continues to develop her career as both a performer and curator. Her performances reflect her commitment to exploring diverse repertoire and creating meaningful connections between music and cultural heritage.