A young and enthusiastic public was now raising Kabaivanska to the status of cult singer. Versatility is not the least of her qualities. It could not be otherwise in an artist who is first and foremost a cultured, polyglot lady and an excellent musician, Her concerts and recitals are countless to this day and range from Monteverdi to our time. One area she particularly favours, slavic chamber music. As a chamber artist Kabaivanska has never forgotten her “roots”; she is a musician with a perfect command of Czech and Russian and she expresses herself with a deeply felt melancholy..

Raina Kabaivanska’s first master classes took place in 1992 near Turin; ever since it has been impossible to keep track with the frequency with which she has lavished her technical, interpretative and scenic expertise on young students.She was a prestigious coach at the Accademia Chigiana in Siena,at the Accademia in Osimo and at the Opera Real in Madrid, among others.

Lastly, since 1993 our artist has ventured into the exploration of Twentieth-century opera: the intricate one, by Strauss, Janacek, Britten, Poulenc. For such composers the human is not and cannot be the “bel canto” of the previous centuries, but the whispers and screams of characters with a neurotic, worn-out sensitivity. Kabaivanska has created chic, restless ladies, such as the Gräfin in Capriccio, the epitome of the Abandoned Woman in La voix humaine, the Governess in The turn of the Screw,; but also disturbed, tragical characters, such as Emilia Marty in The Makropoulos Case and Kostelnička in Jenufa. Critics of the spoken theatre expressed admiration for Raina.’s power as an actress.