Vera Nikolaevna Petrova-Zvantseva was an opera singer (mezzo-soprano) and vocal teacher. According to the memories of her contemporaries, she was often called ‘Chaliapin in a skirt’ for the strength of her voice.

Vera Petrova-Zvantseva was born on September 12, 1875 in Saratov and died on February 11, 1944 in Moscow. The father of young Vera Petrova passed away early, leaving almost no savings for the family. From childhood Vera was independent, accustomed to achieve her goals through hard work and diligence. The girl was musically talented from her early age. In the women's gymnasium, where Vera studied, the choir class was taught by Sofia Loginova. She did a lot of personal training with the girl. For the first time the young singer performed on stage in 1891, and in April 1894, she gave a recital in Saratov and on the money made from it, Nina went to continue her studies at the Moscow Conservatoire, where she was immediately enrolled in the 3rd course in the class of Varvara Zarudnaya. It was there, at the Conservatoire, that Vera Petrova met her future husband Nikolai Zvantsev, who taught students acting skills. He became a lifelong admirer of his wife's talent, her guardian angel in life and on stage. Nicholai implemented the Stanislavsky Method in learning roles with his wife. Thanks to this creative union natural talent of Vera Nikolaevna revealed to the full extent.

After graduating from the Conservatoire the singer debuted in 1897 as Vanya (“Life for the Tsar” by Mikhail Glinka) in Orel, then performed in Elets and Kursk. In 1898-1899, she was a soloist of the Tiflis Opera. In autumn 1899, on the recommendation of Mikhail Ippolitov-Ivanov (her former conservatory teacher of musical harmony) she was accepted to the Moscow Private Russian Opera, where she debuted as Lyubasha (“The Tsar's Bride” by Nikolai Rimsky-Korsakov). The author attended the premiere. Critics didn't skimp on the rave reviews. “Petrova-Zvantseva sang ‘a cappella’ and the audience listened to her every word”. From this very moment and forever the name of Vera Petrova-Zvantseva has been inextricably linked with the name of the great Russian composer Nikolai Rimsky-Korsakov. The composer insisted that Vera Nikolayevna became the first performer of the most difficult part of ‘Kascheyevna’ in his opera ‘Kaschey the Immortal’. The image of Kascheyevna, created by the singer, was fabulous ominous, it reeked of evil power. Vera had an incredible gift for impersonation and became one of the best interpreters of female characters in the operas by Rimsky-Korsakov. The singer said in an interview that her favorite roles were Lyubava in ‘Sadko’, Lel’ in ‘The Snow Maiden’ and Lyubasha in ‘The Tsar's Bride’.

Vera Petrova-Zvantseva participated in “The Historical Concerts” of Sergei Vasilenko with the works by Richard Wagner. In the seasons 1908-1909 and 1911-1912, the singer’s concerts in Berlin and Leipzig, where she performed works by Russian composers were great success. At the first sounds of Vera Petrova-Zvantseva voice, the Berlin orchestra stood up all together and began to applaud furiously. The singer possessed a mezzo-soprano voice of great strength, extraordinary lightness, warm timbre and a wide range, bright artistic temperament and ingenious style of performance. One of her most brilliant parts was Carmen. In this role she performed on stage more than a thousand times! Sergei Nikiforovich Vasilenko, the prominent conductor and composer, wrote: “Recalling the performers, I will name first of all Vera Nikolaevna Petrova-Zvantseva. She had a charming, unique voice and, in addition, was a wonderful dramatic artist. Her interpretation of the role of Carmen boggled the minds Muscovites: on the days when this opera was performed, the theatre was full”. Vera Nikolayevna made no less of an impression in the roles of Joan of Arc in “The Maid of Orleans” by Pyotr Tchaikovsky and Charlotte Werther by Jules Massenet. She was a fleshly Joan – passionate and impetuous, and Charlotte – very feminine, kind and soft. No one thought that her fiery-explosive artistic temperament was capable of generating such different scenic characters.

Vera Petrova-Zvantseva Vera Nikolayevna was active in pedagogical activities: she headed an opera class at the Moscow People's Conservatory, taught at the Moscow Conservatory, and was appointment a professor in 1926. She died in 1944 in Moscow and was buried in the Novodevichy cemetery.
Her husband was an opera singer, director of opera performances, professor at the Moscow Conservatory Nikolai Zvantsev.

On the cover: Post card. Vera Petrova in the opera ‘Mademoiselle Fifi’