"Dmitry Belosselskiy, a baby-faced Filippo II with the voice of a basso profondo. The Russian singer displayed a perfectly equalized, thundering, rich instrument that sounded torrential even in the infamously poor acoustics of the Teatro Comunale. He displayed an impeccable passaggio di registro that produced an easy, powerful top. An almost imperceptible crack on a B flat (the first note of the final ‘Ella giammai m’amò’) did nothing to spoil one of the best sung renditions of this iconic aria I have ever heard. His interpretation of one of the most challenging roles of the entire bass repertoire is for the moment still a little generic and did not show too much individuality. He tends to favour the menacing and grim personality of the King, while giving less emphasis to his more pathetic, grieving and tortured side. Nonetheless, Belosselskiy is still a young singer and will grow into the role. And in any case a very well sung Filippo has become a rarity these days."
Nicola Lischi for Opera Britannia

"Dmitry Beloselskiy era Filippo II: commovente  nella  grande scena desolata “Ella giammai m’amò”, forte nel duetto col tremendo Inquisitore" Mario Dal Bello for Citta Nuova

"A delightful surprise in this production was the forceful, authoritative, yet surprisingly supple voice of bass Dmitry Belosselskiy. Key to both the opening and closing scenes of Norma, Mr. Belosselskiy’s Oroveso embodies the type of stalwart leader that his cohorts will readily respect and faithfully follow. Mr. Belosselskiy demonstrates his powers primarily through the impressive quality of his commanding voice—one of those superbly deep, yet never gravelly bass voices for which Russian singers alone seem to hold the exclusive patent." Terry Ponick for Washington Times

"Dmitry Belosselskiy as Oroveso resounds with authority." Gary Tischler for the Georgetowner

"Dmitry Belosselskiy, who sang Norma’s father, Oroveso, seems to be embarking on a big-league career, and to judge from his full authoritative singing in the second act, he deserves it." Anne Midgette for Washington Post

"Dmitry Belosselskiy, as Norma’s father, was stunning vocally and physically impressive.  This rich bass voice is placed forward and feels wonderfully present and expressive. With simple economy of means, such as a hand pressed over his heart when the man faces the toughest choice a father can face in meeting out justice upon his own daughter, Belosselskiy demonstrated he is a true singer-actor who can carry strong roles.[...] Angela Meade with Russian bass Dmitry Belosselskiy and Tenor Rafael Davila cranked that sound to a most glorious fortissimo, the size of which rang that opera house in a way I’d never heard before." Susan Galbraith for DC Theatre Scene

"Norma’s father and chief priest Oroveso, as sung by Russian bass Dmitry Belosselskiy, was an austerely commanding presence with a deeply resonant bass possessed of heroic overtones. His spear-shaking rage, however, was touchingly softened at the opera’s end upon hearing the pleas of his ruined daughter. Belosselskiy’s acting here was none of the fist-biting nonsense that has become the stuff of opera parody; he was a man broken open by unforeseen circumstances." Greg Marzullo Washington Blade

"Dmitry Belosselskiy (Oroveso) begins the opera in a mature, powerful bass that is as clear as a bell even from the back of the stage."
Jessica Vaughan for DC Metro Theater Arts

"As Oroveso, Norma's father, the Russian bass Dmitry Belosselskiy sang with imposingly firm and appealing tone." Mike Silverman for News Times

"As Oroveso, Dmitry Belosselskiy reveals a bass with uncommon muscle and elegance."

Tim Smith for The Baltimore Sun

"and bass Dmitry Belosselskiy are especially memorable as Adalgisa and Norma’s father"

Mike Paarlberg for Washington City Paper

Dmitry Belosselskiy is superbly capable in the fifth main role, that of Ferrando, the count’s captain.
Michael Johnson for concertonet

Bass Dmitry Belosselskiy stood out as Ferrando among the supporting characters.
Arthur Kaptainis for National Post

"...while Ukrainian bass Dmitry Beloselsky, a luxury cast in the role of Creonte, impressed." José Irurzun for Seen and Heard

"Dmitri Beloselski war ein eindrucksvoller Creonte."


Thomas Migge for Klassik Info

"Whereas Creonte by Dimitr Beloselski shows again another young Russian bass with good potential."
Opera Online

"Whereas Creonte by Dimitr Beloselski shows again another young Russian bass with good potential."
Opera Online

"Whereas Creonte by Dimitr Beloselski shows again another young Russian bass with good potential."
Opera Online

"In den Hauptrollen, insgesamt eine stimmlich homogene und gelungene Besetzung, sangen Dmitriy Beloselskiy (Barbarossa)...."

Thomas Migge for Klassikinfo

"Dmitry Belosselsky gefiel als Galitzky vor allem mit einem kernigen Forte"
Neue Zürcher Zeitung

"Bass-Entdeckung: der raumgreifende Dmitry Belosselskiy als Fürst Galitzkij, das Ekelpaket, das Igors Statthalter abgibt"
Badische zeitung

"bass Dmitry Beloselsky sings imposingly as the Hebrew high priest Zaccaria."

George Loomis for New York Times

"Dmitry Beloselskiy è uno Zaccaria dalla voce un po' chiara ma limpida, ferma, omogenea in tutti i registri, non un profeta biblico tonitruante ma un uomo del suo popolo."

Mauro Mariani for giornale della musica

"Dmitry Beloselskiy è un giovane Zaccaria (ma nella radice del nome ha Belo, curiosa coincidenza) con voce ben timbrata e di giusto colore; espressivo in “Come notte a sol fuggente”, che contiene il primo riferimento all'impeto libertario (“Ne' tuoi servi un soffio accendi che dia morte allo stranier”)."

Francesco Rapaccioni for teatro.org

"Die beeindruckendste Leistung bot an diesem Abend Dmitri Belosselski: als König René und Lanceotto. Belosselski hat die Partie schon bei der erwähnten konzertanten Aufführung im Konzerthaus gesungen. Bereits damals war sein kräftiger, etwas rauher Bass positiv aufgefallen. Er sang den Lanceotto mit mächtigem Grimm und gab auch einen gesangesgewaltigen Vater Iolantas."

Dominik Troger for Oper in Wien

"Dem Theater an der Wien ist es wieder gelungen, hervorragende, noch junge Sänger nach Wien zu holen. Man merkte deutlich die russische Sängerschule, bei der die Technik perfekt sitzt und den Sängern freien Lauf bei der musikalischen Gestaltung lässt. Das war besonders bei Dmitry Belosselsky zu beobachten, der den König René und Lanceotto Malatesta verkörperte und mit einer gewaltigen, manchmal ein bisschen zu bremsenden Stimme und unerbittlich intensivem Ausdruck beide Rollen hervorragend gestaltete."

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"Überwiegend Erfreuliches von den unteren Registern: Dmitry Belosselsky (René/Malatesta) verströmte eine etwas vordergründig orgelnde, aber bis auf die tiefsten Töne wirkungsvoll profunde Bassautorität"

Walter Weidringer for Die Presse

"Großteils gewinnend dafür die Sängerschaft: Dmitry Belosselsky (König René, Lanceotto) besitzt die vokale Durchschlagskraft eines Panzerbrechers"

Christoph Irrgeher for Wiener Zeitung

"Excellent doublé également pour la basse Dmitry Belosselsky, superbe figure de père tragique dans Iolanta, mari en proie à une incroyable démence jalouse dans Francesca."

Clément Taillia for Forum Opera

"Una compagnia di canto interessante, dominata dalla voce superba, sonora ed espressiva del basso Dmitry Belosselsky ( Re René e  Malatesta)."

Angela Martin for GB Opera

"Despite his youth, the Ukrainian bass Dmitry Belosselskiy brought Old Testament gravitas to the role, holding the stage with the ponderous authority appropriate to a ancient religious leader. [...] his voice was sumptuous and resonant in arias such as Vieni, o Levita. Although the role of his Babylonian opposite number, the High Priest of Baal, is a smaller one, the bass Harold Wilson was an effective vocal counterpart."

David Fleshler for South Florida Classical Review

"Festspielwürdige Besetzung: Dmitry Belosselskij, der die Partie des Banquo singt, trägt einen Christusbart und einen marienblauen Mantel über der Rüstung: Er ist die verkörperte höhere Gerechtigkeit. Seine sonore Stimme strotzt vor diesseitiger Männlichkeit, versprüht Wärme, Glanz und Leben."

Eleonore Büning for Frankfurter Allgemeine

"vor allem der wunderbare, als Banquo viel zu früh versterbende Dmitry Belosselskiy sind Belcantisten reinsten Wassers. Idealbesetzungen in Mutis Klangtheater also."

Merkur

"Dmitry Belosselskiy war ein wunderbar timbrierter, sorgfältig intonierender Banquo."

Hans-Klaus Jungheinrich for Kölner Stasdtanzeiger and Berliner Zeitung

"Dmitry Belosselskiy made a strong Banquo"

John von Rhein for Chicago Tribune

"Dmitry Beloselskiy is a Banquo to be reckoned with. An appealing and sonorous timbre with a resilient and unusually easy top, coupled with an imposing stage presence make him an undoubted asset in any Verdi production."

Moore Parker for the Opera Critic

"Buono, anche se in alcuni momenti un po' generico, il Banquo consapevolmente disilluso di Dmitry Belosselskiy."

Alessandro Cammarano for Operaclick

"Dmitry Belosselskiy è un Banco che unisce la morbidezza di emissione alla perentorietà dell’accento, e in cui un’estensione da autentico basso si accompagna a una singolare limpidezza timbrica"

Paolo Patrizi for Drammaturgi

"Dmitry Belosselskiy est un Banquo impeccable"

Monique Barichella for Alta Musica

"There was exemplary work from Giuseppe Filianoti (Macduff) and Dmitry Belosseslskiy (Banquo)"

Rupert Christiansen for the Telegraph

"Dmitry Belosselskiy ist ein sehr solider, klangschöner Banko"

Stefan Schmöe for Online Music Magazin

"Banquo (volltönend salbungsvoll: Dmitry Belosselskiy)"

Manuel Brug for Die Welt

"Ebenfalls auf hohem Niveau sang Dmitry Belosselskiy als Banquo"

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