Assia grew up in Uzbekistan far away from the great center of musical metropole and opera.
She comes from a diverse family of artists; her grandfather was the initiator and founder of music theater in the former USSR. and her father was also the founder of musical theater in Israel, where he also served as director, dramaturge, composer, actor and singer.
Very fast she was found as a great Talent, so she gave her debut as Contessa in Mozart’s “Le nozze di Figaro”, a part with some difficulties and complexities. In the meantime, a dream really had come true: the world-famous Bolshoi Theatre in Moscow had contacted and engaged the young singer. Then in 1990 a scholarship of the American Cultural Trust launched the international career with an engagement in the USA as Antonia “Tales of Hoffmann”, Leticia “The old Maid and the Thief”, and Mimi “La Boheme”. Later on, APA would report about her Mimi: “…. Assia Davidov let her wonderful soprano thrive.” Master classes with Martina Arroyo, Renata Scotto and Walter Berry also contributed further towards this. The Vienna audience was lucky to experience her “wonderful soprano” when she also performed Mimi as a guest at the Wiener Kammeroper in 1992, however this had consequences: Austria did not let her go. She settled down and the next engagement followed right away: the following summer she sang Donna Elvira in Mozart’s “Don Giovanni” in the Schoenbrunn Castle. Then the Landestheater Innsbruck engaged this great singer and not only did her voice flourish further, but also her entire artistic personality developed in a large range of various roles: as Sandrina in “La finta giardiniera”, Donna Anna in “Don Giovanni”, again Contessa in “Le nozze di Figaro” in a matured performance, as Fiordiligi in “Cosi fan tutte” she first presented herself as stylistically confident Mozart performer and trained her voice for her next vocal fach that she intended to conquer: the Italian. As soon as she had acquired it she not only became the audiences’ favourite, but she also earned the critics’ praise and honour. She sang Alice in Verdi’s “Falstaff” and again Mimi as well as Adina in “L`Elisir d`Amore”, Amina in “La Sonnambula”, Leonora “Masquerade” and after a side step to Schoenberg’s “Moses and Aaron” she triumphed in the much-dreaded part of Violetta in “La Traviata”. If she was already praised as for her “brilliant soprano” and “charismatic portrayal” in Donna Anna by the critics, the praise even increased after her Violetta, with the Vienna daily Kurier stating that the Vienna State Opera could only wish for such a Violetta. Others joined in this praise and applauded her portrayal of the role. Another great success was her performance in Offenbach’s “Tales of Hoffmann” about which the Kurier reported: “…. a great singer appeared in four female roles…. again, her brilliant singing and artistic expression were superb. „During this time there also were many guest performances: she performed Micaela in “Carmen” at the Frankfurt Opera, Amina in Regensburg, Antonia in Augsburg, Nedda, Violetta in Budapest, Gilda, Pamina in“The Magic Flute”, Donna Elvira, “Abduction from the Serail” Konstanze, Norina with the Israeli Opera Theater, Contessa, Elena, Mimi, Antonia, Micaela at the New Israeli Opera and many more.
Hannover, Paris, London or Berlin and delighted her audience again with her Contessa and Violetta, but also with many new parts such as Saffi “Der Zigeunerbaron” (Gypsy Baron) “Il segreto di Susanna” as Susanna, “Vater Sergius”, in four female roles, “La Serva Padrona, Serpina, “Eugen Onegin” Tatiana, “Pique Dame” Lisa, and mainly the difficult parts “Nabucco” Abigail and Norma, that keeps being compared to Callas. An extract from the critic from the German daily “Sueddeutsche Zeitung” explains how Assia Davidov mastered this part: “As Norma she offers enough drama to fill the expressive passages with powerful timbre. Further she has the ability for the soft tones to present the fine nuances with a burning flame and a crystal clarity….” Other stages also wanted to listen to Norma: Freiburg, Ulm and even Tosca in Novosibirsk
Conductors: Gary Bertini, Asher Fish, Dietfried Bernet, Ernst Maerzendorfer, Mark Daver, Alexander Steinitz, Georg Schmöhe, Wolfgang Göhnenwein, Artur Fagen, Walter Haupt, Arend Werkamp, Stanly Sperber, Aaron Charlap, Jevgenij Brazhnik, Niels Muus, Andrej Tcistjakov, Marc Soustrot, Caspar De Roo, Georg Solti and many others.
In the meantime, her Repertoire includes more than 40 parts, among them Abigaille in “Nabuccco”, Elisabetta in “Don Carlos” and Elisabeth in Wagner’s “Tannhäuser”, Leonora in La Forza del destino, Tosca in “Tosca” with the number of performances and opera houses increasing continuously. Only a few examples shall be named here: Belgrade, Ljubljana, Prague, Strasbourg, Lyon, Paris, Marseille, Bordeaux, Nice, Geneva, Basel, Dusseldorf, Berlin, Nurnberg, Cologne, Lisbon, London, Cordoba, Malaga, Sao Paolo, Santiago de Chile, Montevideo, and Buenos Aires….