What Happened to Marina Poplavskaya?

In 2010, the New Yorker ran a profile of Marina Poplavskaya, bylined by Gay Talese and running in excess of 6,500 words. Talese chronicled his time on the road with the Russian opera singer (whose 2007 Met debut as Natasha in “War and Peace” had been the legendary journalist’s conversion to opera fandom), beginning in a wildfire-gripped Moscow, and continuing on to Buenos Aires and New York. It ran just as Poplavskaya was taking on a unicorn of a double-header at the Met: Violetta in “La traviata” and Elisabetta in “Don Carlo.”