Anastasiya Taratorkina was the last to sing. And with a phenomenally flexible, precious soprano, everything was just right:

Every gesture and every little phrase of the snappish Norina from Donizetti’s “Don Pasquale”, the deadly pain of Mozart’s Pamina and the equally supposedly futile struggle for great love of Anne Trulove from Stravinsky’s “The Rake’s Progress”. The first prize and the audience award were more than deserved.