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About
Elena's parents are both singers. Her father, the owner of the lowest male voice (bass), worked all his life in the Saratov Theater. Her mother, a teacher and singer from the philharmonic society, the owner of a dramatic soprano, insisted that her daughter go in parental footsteps. As a result, the young singer, who has no particular craving for the operatic stage and enjoying romances and light pop songs, still ended up at a music school. When Manistina did not enter Gnesinka, she returned to her native Saratov - and, as soon as she started singing seriously, all her doubts about the choice of her future profession disappeared.
At the end of the first year of the Saratov Conservatory, Manistina was accepted into the theater. According to her, the first two courses were wasted, and Elena was ready to abandon her studies. The singer was incessantly drawn to Moscow, and when she received another prize, a second prize, from the hands of the People's Artist of the USSR, Irina Konstantinovna Arkhipova from the Conservatory. P. I. Tchaikovsky, I understood - this is the very time, time to move to the capital.
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Having collected courage, Manistina persuaded Arkhipov to accept her into her class. Classes with a new teacher significantly helped Elena, especially in the very concept of interpreting music, and, of course, Saratovskaya diva revealed some secrets of vocal skill.
Having plunged headlong into the Moscow musical life, Manistina often went to concerts and performances. In 2000, she graduated from the largest musical educational institution Rosiii, Moscow State Conservatory. P. I. Tchaikovsky, and in two years - postgraduate studies at the Moscow Conservatory.
Elena first appeared on the opera stage back in 1997, performing the part of Martha from Khovanshchina by M. P. Mussorgsky at the Saratov Opera and Ballet Theater. This was followed by successful numerous performances in other venues. Among them: the party Ulriki in 'Ball Masquerade' by G. Verdi, Babulenka in the world premiere of the first version of the opera 'The Player', Marina Mnishek from 'Boris Godunov' Mussorgsky and Lyubasha from 'The Tsar's Bride' Rimsky-Korsakov.
Continuing to expand the range of roles, Manistina also played Preziosilla in the “Power of Fate” by G. Verdi, Amelfu in the Golden Cockerel by N.A. Rimsky-Korsakov, Polina and the Countess in Tchaikovsky's The Queen of Spades, Olga in Eugene Onegin by Tchaikovsky, Helen in Prokofiev's War and Peace and the mezzo-soprano in Verdi's Requiem.
The operatic part of the range of her voice in the Ninth Symphony of L. van Beethoven and the Second, Third and Eighth Symphonies of H. Mahler was also entrusted to the operatic diva.
Elena collaborated with many famous conductors, including G. Rozhdestvensky, K. Nagano, P. Domingo, Y. Temirkanov, and others.