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- The title role in Puccini's Tosca, at Theater Trier and  Teatro Vittorio Emanuele di Messina;

- The title role in Strauss' Elektra, at Sofia Opera and Hessische Staatstheater Wiesbaden;

- The title role in Cherubini's Medée, Senta in Wagner's Der Fliegende Holländer, Tatyana in Eugene Onegin and Liza in Pikovaya Dama, from Tchaikovsky, at the Sofia Opera;

- Floria Tosca in Marina Abramovic's The Seven Deaths of Callas and Gala Concert, at the Deutsche Oper Berlin;

- Abigaile in Verdi's Nabucco, in Graz.




Some highlights of Ms. Lamar’s 2021/22 season are her house debut at the Hessisches Staatstheater Wiesbaden in the title role of Strauss' Elektra, her Senta in Wagner's Der Fliegende Holländer at the Sofia Opera & Ballet and her debut as Abigaille in Verdi's Nabucco in Graz, Austria. 

During the season 2022/23, Ms. Lamar will be making the following role debuts: Liza in Tchaikovsky's Pique Dame, the title role  in Puccini's Tosca and Judith in Bartók's Le Château de Barbe-Bleue. Her first engagement of the season was a recital in Pesaro, Italy, for the 100th Renata Tebaldi's Anniversary Tribute. 

Praised for her “beauty of tone and dynamic phrasing” (Klaus Billand, Online Merker) and “powerful and nuanced dramaticism” (Ekaterina Docheva), Bulgarian soprano Diana Lamar returned to the Sofia Opera in the season 2021/22 as Elektra, in a production by Plamen Kartalov, under the baton of Maestro Evan-Alexis Christ, which she debuted in  2020, during national premiere to immense critical acclaim. In January 2022, Lamar sang Elektra in Palermo, conducted by  Marcus Bosch, with the Orchestra Sinfonica Siciliana, where she is invited to sing the role of Judith in Bartók’s Le Château de Barbe-Bleue in March 2023. In 2022, at the Deutsche Opera Berlin, she covered the role of Els in Schrecker’s Der Schatzgräber and made her house debut in the role of Floria Tosca in the Marina Abramovic's The 7 Deaths of Maria Callas. Another highlight of Diana Lamar’s 21/22 season was her highly anticipated role debut as Tatyana in Tchaikovsky’s Eugene Onegin, at the Sofia Opera and her debut as Elsa von Brabant in Wagner’s Lohengrin, at the Bucharest National Opera.

Diana Lamar’s operatic repertoire includes works by Wagner, Strauss, Puccini, Verdi and Tchaikovsky. Highlights of previous seasons include the roles of Der Trommler in Viktor Ullmann’s Der Kaiser von Atlantis, Gabriel Schutz in Weigmann’s Der Klarinettenmacher, Sylva in Kalmán‘s Die Csàrdàsfürstin, Gretel in Humperdinck’s Hänsel und Gretel, Micaëla in Carmen at the Ganizate Festival and Une Bergère in Rameau’s Naïs, under the baton of Christophe Rousset for the Britten-Pears Centenary, at the Aldeburgh Festival in Snape Maltings, England.

Her symphonic and oratorio's repertoire includes Strauss' Vier Letzte Lieder, under the baton of Daniel Kawka, with the OSE Orchestra; Schubert's  Mass in D with the Belgian National Orchestra, conducted by Christopher Warren-Green; Mahler's Rückert-Lieder and Vivaldi's Nisi Dominus with the BOHO Players, conducted by David Ramael; and Poulenc's Messa di Gloria, with the Lausanne Sinfonietta, under the baton of Yves Bugnon.

The soprano has been awarded numerous scholarships and grants, including the Maria Callas Tribute Prize, 1st prize at the Concorso Internazionale per Cantanti Lirici “Città di Alcamo” 2018, the 2010 & 2011 Fritz-Gerber Stiftung Grant, the 2009 Pour-cent Culturel Migros Grant, the 2010 Lyra Stiftung Grant and the 2007 Grand Concours de la “Pierre d’Or” in Switzerland.

From 2011 until 2015, Gouglina was a soloist in residence at the Chapelle Musicale Reine Elisabeth, under direction of José Van Dam. During her residency, she participated in concerts and masterclasses with renowned artists such as Helmut Deutsch, Ian Bostridge, Julius Drake, Helen Donath, Inga Kalna, Tom Krause, June Anderson, Luca Scarlini, Anita Garanca, Olga Pasychnik and Luca Scarlini. She holds dual Masters degrees in Vocal Performance and Vocal Pedagogy at the Haute École de Musique de Genève, Switzerland.


"Diana Lamar è stata una Tosca di ottima presenza scenica, dal bellissimo fraseggio, con un’emissione morbida e uniforme in tutta la gamma dei suoni, tale da rendere inavvertibili i passaggi di registro. Espressiva nelle note basse e nel declamato, possente negli acuti."
Elida Maria Grasso - Gazzetta del Sud

"Toscas Eifersucht, als sie eine andere Frau in dem Gemälde Cavaradossis entdeckt, zeigt sich in jeder Nuance von Lamars grandioser Stimme und in jedem Muskel ihres Gesichts, das dann aber doch hoffnungsvoll und träumerisch wird, als sie von der Liebe zu dem jungen Maler schwärmt. (...) man denke nur an Diana Lamars lupenreines „Vissi d‘arte“ (...)"
Veronika Königer - Volks Freund

"Diana Lamar sang mit schlankem und farbenreichem Sopran die Titelrolle (Elektra)
[…] Das führte zu sehr schönen vokalen Momenten in den ruhigeren Szenen mit Chrysothemis und natürlich in der Erkennungsszene mit Orest, wo ihr herrlich lange Bögen gelangen…"

Klaus Billand - Online Merker

"Diana Lamar is a very interesting and complex Elektra. Her voice is flexible, agile, capable of producing a remarkably nuanced vocality. She added additional parameters to the essence of the role, responding to the music and also to the lyrical aspect of the score."
Ekaterina Docheva  - Ploshtad Slevejkov


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