Alexander Tsymbalyuk

© Henriette Mielke


The Ukrainian bass Alexander Tsymbalyuk is one of the youngest basses to have ever performed the title role in Boris Godunov on a major international stage (Bayerische Staatoper in Calixto Bieito’s production). His career is truly soaring, having made very successful company debuts at the Metropolitan Opera New York, Teatro alla Scala Milan, Royal Danish Opera Copenhagen, Bayerische Staatsoper Munich, Deutsche Staatsoper Berlin, Palau de les Arts Reina Sofia in Valencia, Royal Opera House Covent Garden, Liceu Barcelona, Bolshoi Theatre Moscow and Maggio Musicale Fiorentino.

This season, Alexander appears as Il commendatore in Don Giovanni at the Opéra national de Paris and in a new production at Staatsoper Hamburg, and he will return to the Bayerische Staatsoper for Prince Gremin in Eugene Onegin and Timur in Turandot.

Alexander has very successfully worked with conductors including Zubin Mehta, Lorin Maazel, Riccardo Muti, Daniel Barenboim, Sir Colin Davis, Antonio Pappano, Marco Armiliato, Nicola Luisotti, Kent Nagano, Gustavo Dudamel, Riccardo Chailly, Ivor Bolton, Edward Gardner, Anto-nello Manacorda, Daniele Rustioni, Jukka-Pekka Saraste, Alain Altinoglu, Vasily and Kirill Petrenko, Dan Ettinger, Evelino Pidò and Simone Young.

In concert he has appeared at the Maggio Musicale Fiorentino singing Mozart’s as well as Verdi’s Requiem and Don Carlo and he sang his Gurrelieder debut at Konzertverein Vienna (all under the baton of Zubin Mehta), Boito Mephistofeles (Prologue) with the Accademia Santa Cecilia conducted by Pappano, Rigoletto in Concert at the Hollywood Bowl with Gustavo Dudamel, Otello in concert with Sir Colin Davis and the London Symphony Orchestra at Barbican Centre London and at Deutsche Aids Gala in Düsseldorf. He has given a solo recital at St Johns Smith Square London and took part in the 20th anniversary celebration concert of the charity event “Festliche Gala der Deutschen AIDS Stiftung” at Deutsche Oper Berlin.


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    Schönberg Gurrelieder

    Label: Helicon Classics

    Release Date: 01 Sep 12

    Zubin Mehta
    Daniel Kirch (Waldemar), Jennifer Wilson (Tove), Daniela Denschlag (Wood Dove), Alexander Tsymbalyuk (Peasant), Niklas Björling Rygert (Klaus the Jester), Itay Tiran (Speaker)
    Prague Philharmonic Choir
    Israeli Choir
    Gary Bertini

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    Das Rheingold

    Label: Oehms Classics

    Release Date: 31 Jan 13

    Simone Young
    Hamburgische Staatsoper
    Philharmoniker Hamburg,
    Struckmann, Galliard, Koch, Tsymbalyuk, Martirossian

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    Label: Naxos

    Release Date: 01 Jan 08

    Palau de les Arts “Reina Sofia”, Mehta, Guleghina, Agulló, Tsymbalyuk, Berti, Voulgaridou

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    Boris Godunov

    Label: Bel Air Classiques

    Release Date: 15 Jan 14

    Alexander Tsymbalyuk (Boris Godunov), Yulia Sokolik (Fyodor), Eri Nakamura (Xenia), Heike Grötzinger (Xenia’s nurse), Gerhard Siegel (Schuisky), Markus Eiche (Andrey Chelkalov), Anatoli Kotscherga (Pimen), Sergey Skorokhodov (Grigory Otropyev), Vladimir Matorin (Varlaam), Ulrich Reß (Missail), Kevin Conners (Simpleton), Goran Juric (Nikititch)
    Chor der Bayerischen Staatsoper
    Bayerisches Staatsorchester
    Kent Nagano (conductor)
    Calixto Bieito (stage director)

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    20. Festliche Operngala für die Deutsche AIDS-Stiftung

    Label: Naxos

    Release Date: 23 Jun 14

    Conductor: Donald Runnicles
    Cast: Joyce DiDonato, Simone Kermes, Olga Peretyatko, Elena Tsallagova, Sonya Yoncheva; Atalla Ayan, Bejun Mehta; Massimiliano Pisapia, Adam Plachetka, Alexander Tsymbalyuk Chorus & Orchestra of the Deutsche Oper Berlin
    Live recording at the Deutsche Oper Berlin from November 2 2013

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    Label: Decca Classics

    Release Date: 31 Jul 15

    Andrea Bocelli, Jennifer Wilson, Jessica Nuccio, Alexander Tsymbalyuk
    Coro de la Generalitat Valenciana
    Orquestra de la Comunitat Valenciana
    Zubin Mehta

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    Label: LSO Live

    Release Date: 18 Oct 10

    LSO Live LSO0700

    Simon O’Neill: Otello
    Gerald Finley: Iago
    Anne Schwanewilms: Desdemona
    Allan Clayton: Cassio
    Ben Johnson: Roderigo
    Alexander Tsymbalyuk: Lodovico
    Matthew Rose: Montano
    Lukas Jakobski: Araldo
    Eufemia Tufano: Emilia
    London Symphony Chorus
    London Symphony Orchestra
    Sir Colin Davis
    Choir of King’s College, Cambridge
    Academy of Ancient Music
    Stephen Cleobury

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    20 Oct 19 MOZART Don Giovanni
    Hamburg State Opera

    “Alexander Tsymbalyuk boomed magnificently as the Commendatore, amplified by having the trombones behind him on stage. There’s so much juicy resonance to his bass.”
    Opera Traveller, 20 October 2019

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    16 Jul 19 PUCCINI Turandot
    Münchner Opernfestspiele

    “Grand bonheur également de retrouver l’immense Alexander Tsymbalyuk dans la partie de Timur, le vieux roi exilé : la voix se déploie densément, jusqu’à donner le frisson [lire nos chroniques de Lady Macbeth de Mzensk et Boris Godounov].”

    [Translated] “Also great happiness to find the huge Alexander Tsymbalyuk in the part of Timur, the old king exile: the voice spreads densely, to give the thrill [read our chronicles of Lady Macbeth of Mzensk and Boris Godounov].”
    Bertrand Bolognesi, Anaclase

    “Timur grandiose, en revanche, d’Alexandre Tsymbalyuk”

    [Translated] “Grandiose Timur, by contrast, of Alexander Tsymbalyuk”
    Didier Van Moere, Diapasion Magazine

    “Alexander Tsymbalyuk continue d’habiter les seconds rôles avec la prestance des premiers. Vocalement, on peine à croire que son Timur ait besoin d’un fauteuil roulant, et les appels à son fils retrouvé sont plus ceux d’un père verdien dont on entend clairement la stature royale. Il n’y a que dans le dernier acte qu’il diminue la voilure pour s’émouvoir du sort de Liù.”

    [Translated] “Alexander Tsymbalyuk continues to play the supporting roles with the presence of the first.” Vocally, it is hard to believe that his Timur needs a wheelchair, and the calls to his son found are more than those of a Verdian father whose He clearly understands the royal stature, and only in the last act does he diminish his wings to be moved by Liu’s fate.”
    Guillaume Saintagne, Forum Opera

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    23 Apr 18 RUBENSTEIN The Demon
    Gran Teatre del Liceu, Barcelona

    “… the most impressive performance came from Alexander Tsymbalyuk as Prince Gudal. The Ukrainian bass brought vocal weight and dramatic gravitas to the part and from his opening “Tamara! From your bridegroom a messenger has come,” Tsymbalyuk dominated the stage. His despair during “My daughter…to console this old man you must continue to live” was deeply moving with some fine low C naturals.”
    Jonathan Sutherland, OperaWire

    “En el resto del reparto, que se movió a un nivel algo más discreto, destararon Larisa Kostyuk y Alexander Tsymbalyuk.”

    [Translated] “In the rest of the cast, which moved to a somewhat more discreet level, Larisa Kostyuk and Alexander Tsymbalyuk stood out.”

    Javier Perez Senz, El Pais

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    16 May 17 TCHAIKOVSKY Eugene Onegin
    Opéra national de Paris

    “Alexander Tsymbalyuk sang Gremin’s aria with real grace at a flowing tempo.”
    Mark Pullinger, Bachtrack

    “Basse d’origine ukrainienne, Alexander Tsylbalyuk a dans le sang un de ces Gremine sveltes dont les descentes au plus profond de la portée n’altèrent pas le maintien aristocratique.”

    [Translated] “Bass of Ukrainian origin, Alexander Tsylbalyuk has in the blood one of these slender Gremine whose descents in the depths of reach do not alter the aristocratic maintenance.”
    Christophe Rizoud, Forum Opera

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    01 Nov 12 VERDI Rigoletto
    Teatro alla Scala

    “Alexander Tsymbalyuk è uno Sparafucile profondo, perfetto per il ruolo (bello il suo Fa sotto il rigo)”

    [Translated] “Alexander Tsymbalyuk is a deep Sparafucile, perfect for the role (nice his Fa under the line)”
    Ugo Malasoma, Operaclick

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    01 Oct 12 WAGNER Siegfried
    Teatro alla Scala

    “Ci è piaciuta anche la voce giustamente cavernosa di Alexander Tsymbalyuk, un Fafner sprezzante ma anche morbidamente rammaricato e lamentoso nella sua struggente agonia.”

    [Translated] “We also liked the rightly cavernous voice of Alexander Tsymbalyuk, a contemptuous Fafner but also softly regretful and plaintive in his poignant agony.”
    Ugo Malasoma, Operaclick

    “Alexander Tsymbalyuk un Farfner cavernoso e tonante.”

    [Translated] “Alexander Tsymbalyuk a cavernous and thunderous Farfner.”
    Francesco Rapaccioni, Teatro

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    01 Aug 12 VERDI Rigoletto
    Hollywood Bowl

    “Alexander Tsymbalyuk offered a lustrous bass”
    Jane Rosenberg, WordPress

    “Alexander Tsymbalyuk’s dark bass helped make Sparafucile scary.”
    Mark Swed, LA Times

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    01 Jul 12 PUCCINI Turandot
    Bayerische Staatsoper

    “Die stimmlich rundeste Leistung des Abends erbrachte Alexander Tsymbalyuk. Trotz jugendlichen Alters verstand er, mit knorrigem, aber stetigem Ton das Greisenalter Timurs glaubhaft zu machen. Sein Bass ist kernig und tragend, in allen Lagen sauber duchgebildet und, trotz beachtlicher dramatischer Präsenz, geeignet, dem Publikum schieren vokalen Genuss zu verschaffen.”

    [Translated] “Vocally, the all-round best accomplishment came from AT. Despite his young age he understood that to make you believe the old age of Timur with a gnarly but solid and consistent sound. His bass is meaty and supported, clean in the entire register, and in spite of his remarkable robust and dramatic presence, he delivered a vocally ethereal and blissful performance.”
    Dr. Daniel Krause, Klassik

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    01 Jun 12 MOZART Don Giovanni
    Deutsche Staatsoper Berlin

    “Ukranian Bass Alexander Tsymbalyuk was an imposing, expressively full-voiced Commendatore.”
    Rebecca Schmid, Musical America

    “…und wenn sich dann am Ende der Bogen schließt und der tote Komtur − Alexander Tsymbalyuk singt ihn mit einem unheimlichen Leuchten in der Tiefe − den zitternden Don Giovanni aus dem Leben abberuft, dann können einem beim Hören und Sehen die Lippen taub werden und die Beine kalt.”

    [Translated] “… and when, at the end, the bow closes and the dead commander – Alexander Tsymbalyuk sings him with an eerie glow in the depth – retrieves the trembling Don Giovanni from his life, then his lips can become numb while listening and seeing and my legs are cold.”
    Jan Brachmann, Berliner Zeitung

    “Der Komtur wird zum Tod […] Alexander Tsymbalyuk sang ihn mit großem, hallendem und endgültigen Bass.”

    [Translated]  “The Commander will die […] Alexander Tsymbalyuk sang it with great, echoing and final bass.”
    Rosemarie Frühauf, The Epoch Times – Deutschland

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    01 Jun 11 SCHOENBERG Gurrelieder
    Musiverein Vienna

    “…Bassist Alexander Tsymbalyuk und Sopranistin Violeta Urmana führten Schönberg zum Triumph.”

    [Translated] “… bassist Alexander Tsymbalyuk and soprano Violeta Urmana led Schoenberg to triumph.”
    Peter Jaronlin, Der Kurier

    “Alexander Tsymbalyuk was der Kräftigste von allen.”

    [Translated] “Alexander Tsymbalyuk was the most powerful of them all.”
    Wilhelm Sinkovicz, die Presse

    “Alexander Tsymbalyuk als angstschlotternder Bauer  […] fügten sich wunderbar in die dramatische Geschichte.”

    [Translated] “Alexander Tsymbalyuk as an angst-ravaging farmer […] blended in wonderfully with the dramatic story.”
    Salzburgter Nachrichten

    “…sowie der schalkhaft polternde Alexander Tsymbalyuk als Bauer sorgten für reizvolle Episoden.”

    [Translated] “… as well as the mischievous rumbling Alexander Tsymbalyuk as a farmer made for attractive episodes.”
    Daniel Ender, Der Standart

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    01 Apr 12 WAGNER Parsifal
    Staatsoper Hamburg

    “Del resto del reparto, sobresalió el Titurel de Alexander Tsymbalyuk, voz bien emitida y sonido no muy potente pero perfectamente audible.”

    [Translated] “Of the rest of the cast, the Titurel of Alexander Tsymbalyuk stood out, voice well emitted and sound not very powerful but perfectly audible.”
    Samuel González Casado, Mundo Clasico

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    01 Dec 11 PUCCINI Turandot
    Bayersiche Staatsoper

    “Scherbachenko’s lovely soprano defied the goings-on around her, as did Alexander Tsymbaluk in the role of Timur, the absolute musical highlight and main attraction of this evening, radiating dignity and depth of tone from his orange wheelchair. Every time he sang, one wished the composer had given his character a bigger role”
    Bettina Mara, Seen and Heard International

    “der imponierende Alexander Tsymbalyuk ist als Timur fast verschenkt.”

    [Translated] “the impressive Alexander Tsymbalyuk is almost wasted as Timur”
    Markus Thiel, Merkur

    “auch Alexander Tsymbalyuk verstand sich als Timur vorzüglich darauf, singend zu ergreifen.”

    [Translated] “and also Alexander Tsymbalyuk undstood perfectly well to sing in the most poignant and emotional way”
    Stefan Dosch, Augsburger Allgemeine

    “brillant der Timur des Alexander Tsymbalyuk”

    [Translated] “Alexander Tsymbalyuk is brilliant as Timur”
    Jörn Florian Fuchs, Deutschlandradio

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    01 Jan 12 Don Giovanni
    Palau de Les Arts Valenica

    “Porque incluso la voz robusta, potente y noble de Alexander Tsymbalyuk tuvo que soportar el desdoro de un mundo sonoro y visual que no estaban muy por la labor de ayudar a su Comendador.”

    [Translated] “Because even the robust, powerful and noble voice of Alexander Tsymbalyuk had to endure the desorption of a sound and visual world that was not very much for the work of helping his Commander.”
    Rafael Díaz Gómez, Mundo Clasico

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    01 Oct 10 Il Trovatore
    Metropolitan Opera

    “the best performance came from Alexander Tsymbalyuk’s Ferrando.  The Ukrainian singer possesses a rich, lush instrument characterized by a pleasant fast vibrato, and was one of the very few basses I have ever heard who neatly performed the many quadruplets in the act I narration.”
    Nicola Lischi, Opera Britannia

    “Tall, imposing Alexander Tsymbalyuk unfurled a sinfully rich bass in the supporting role of Ferrando.”
    James Jorden, NY Post

    “The Ukrainian bass Alexander Tsymbalyuk, in his Met debut as Ferrando, displayed a voice of unmistakably Slavonic provenance in its size and rugged timbre.”
    George Loomis, The Classical Review

    “Alexander Tsymbalyuk, a tall young Ukrainian bass with a hearty voice, made his Met debut as Ferrando.”
    Anthony Tommasini, The New York Times

    “Alexander Tsymbalyuk made a fine impression with as Ferrando.”
    Howard Kissel, New York Daily News

    “Alexander Tsymbalyuk, as Ferrando, has a clear, persuasive young bass.”
    John Yohalem, Opera Today

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    13 Feb 13 Boris Godunov
    Bayerische Staatsoper, Munich

    “Vor allem der erst 36 Jahre junge Hauptdarsteller des Boris, Alexander Tsymbaliuk, überzeugt stimmlich und durch seine großartige Verkörperung des von Gewissensbissen gequälten Herrschers. Dieser Boris hat weiche Züge, die in der Liebe zu den eigenen Kindern und Selbstzweifeln zum Ausdruck kommen, und er stirbt am Ende an den grausamen Mechanismen des Systems einen beachtenswerten Zeitlupen-Tod.”

    [Translated] “Above all, the only 36 years young actor of Boris, Alexander Tsymbaliuk, convincing vocally and by his great embodiment of the pained ruler of conscience. This Boris has soft features that are expressed in love for their own children and self-doubt, and he In the end, the cruel mechanisms of the system die a notable slow-motion death.”
    Franziska Stürz, Deutschlandradio Kultur

    “Mussorgskys „Boris Godunow“ mit Alexander Tsymbalyuk in der Titelrolle ist die bisher beste Aufführung der laufenden Saison an der Bayerischen Staatsoper. Im Zentrum steht aber der junge Ukrainer Alexander Tsymbalyuk als Boris, der hier einem reichen, aber schwachen Oligarchen ähnelt. Im Zarengemach werden Tsymbalyuks Qualitäten deutlich: Er ersetzt expressionistische Vergröberungen, die Schaljapin-Nachahmung und den für „echt russisch“ geltenden Sprechgesang durch eine fein schattierte Charakterzeichnung mit musikalischen Mitteln. Er ist ein großartiger Darsteller, der den seelischen Zusammenbruch glaubhaft darstellen kann und beim Zuschauer genau jenes Changieren zwischen Mitgefühl und Verachtung auslöst, auf das der Regisseur hinaus will.”

    [Translated] “Mussorgsky’s” Boris Godunov “with Alexander Tsymbalyuk in the title role is the best performance of the season so far at the Bavarian State Opera, but the focus is on the young Ukrainian Alexander Tsymbalyuk as Boris, who resembles a rich but weak oligarch; Tsymbalyuk’s qualities are clear: he replaces Expressionist coarsenesses, the Schaljapin imitation, and the chanting of “genuinely Russian” with a finely shaded character drawing by musical means.He is a great performer who can credibly represent the mental collapse and the spectator with that same shaking between compassion and contempt, to which the director wants to go.”
    Robert Braunmüller, Abendzeitung Muenchen 

    “…allen voran den fabelhaften Alexander Tsymbalyuk als Boris…”

    [Translated] “… especially the fabulous Alexander Tsymbalyuk as Boris …”
    Helmut Mauró, Sueddeutsche Zeitung

    “Der Chor und das insgesamt sehr gute Ensemble wird überstrahlt von Alexander Tsymbalyuk in der Hauptrolle. Sein Boris ist kein ausgemachter Fiesling: Wider Willen wird er aufgerieben von der dunklen Seite der Macht. Und bleibt stimmlich dabei absolut souverän, mit bösartiger Energie, aber auch mit berührenden lyrischen Momenten. Sehr dunkel ist die Dunkelheit, die Mussorgskij in seinem Boris Godunow beschwört. Tsymbalyuks warme und gut fokussierte Stimme leuchtet sie aus, in allen Dimensionen.”

    [Translated] “The choir and the overall very good ensemble is outshined by Alexander Tsymbalyuk in the lead role, his Boris is not a downright nonsense: he is wiped out by the dark side of power, and remains vocally confident, with vicious energy, as well The darkness that Mussorgsky conjures in his Boris Godunov is very dark, and Tsymbalyuk’s warm and well-focused voice illuminates it in all its dimensions.”
    Bernhard Neuhoff, Bayerischer Rundfunk 

    “Glänzend besetzt ist der Boris mit dem ukrainischen Bassisten Alexander Tsymbalyuk, der von 2003 bis 2012 im Ensemble der Staatsoper Hamburg war. Ein Bass mit Fülle, Kraft und einem ausgeprägten Timbre, dessen Geschmeidigkeit allen Wendungen der Boris-Partie nachfühlbaren Ausdruck gibt.”

    [Translated] “Brilliant is the Boris with the Ukrainian bassist Alexander Tsymbalyuk, who was in the ensemble of the Hamburg State Opera from 2003 to 2012. A bass with abundance, power and a pronounced timbre, whose suppleness gives a sympathetic expression to all twists of the Boris play.”
    Laszlo Molnar, Klassik Info

    “Sängerstar des Abends war der junge ukrainische Bass Alexander Tsymbalyuk, der ein eindrucksvolles, sensibles Rollenporträt des Titelhelden geboten hatte.”

    [Translated]  “Singing star of the evening was the young Ukrainian bass Alexander Tsymbalyuk, who had commanded an impressive, sensitive role portrait of the title hero.”

    “Mit betörendem Schmelz in der Stimme gelingt dem jungen ukrainischen Bass Alexander Tsymbalyuk ein eindrucksvolles Rollenporträt. Er ist neben dem ebenfalls aus der Ukraine stammenden Bass Anatoli Kotscherga als Pimen und dem bayerischen Tenor Gerhard Siegel als Schuiski der gefeierte Star des Abends.”

    [Translated] “The young Ukrainian bass Alexander Tsymbalyuk has an impressive role-portrait with an enchanting smelt in his voice, and besides the Ukrainian bass player Anatoli Kotscherga as pimple and the Bavarian tenor Gerhard Siegel as Schuiski he is the celebrated star of the evening.”
    DPA Sueddeutsche Zeitung, Stern, Die Welt 

    “Nagano hat vorzügliche Sänger zur Verfügung – und einen echten Star: Alexander Tsymbalyuk singt die Partie mit oppulenter, weicher, enorm wohlklingender Stimme. Er ist als Boris Godunow die schönste Fehlbesetzung, die man sich vorstellen kann. Denn anders als der Boris in der Oper und in der Geschichte, ist er ein junger Beau, dem man den frühen Tod aus Gewissensqualen eigentlich kaum abnimmt. Aber Tsymbalyuk spielt den psychischen Zerfall wunderbar schlicht.”

    [Translated] “Nagano has excellent singers at his disposal – and a real star: Alexander Tsymbalyuk sings the part in an opulent, soft, enormously well-sounding voice, and as Boris Godunov, he is the most beautiful cast that you can imagine, unlike Boris in the opera and in the story, he’s a young Beau, who does not really care about the early death of conscience, but Tsymbalyuk plays the psychic decay wonderfully simple.”
    Jesko Schulze-Reimpell, Donau Kurier 

    “…Bieito gleich ganz, zeigt etwa Pimen, den alten Mönch, im Kittel nur als zittrigen Hausmeister der Geschichte. Aber Anatoli Kotscherga, früher selbst ein großer Boris, fängt das auf durch seinen Charaktergesang. Eine Generationenschau, die einen nicht kalt lässt, denn den Staffelstab hat er nun weitergereicht an Alexander Tsymbalyuk. Der 36-Jährige reiht sich schon jetzt ein in die großen Vertreter dieses Fachs. Eine raumgreifende, dunkle, typisch slawische Stimme, die aber viel runder, geschmeidiger, eleganter geführt wird als die der meisten Kollegen. Nichts ist am Gesang von Tsymbalyuk ungeschlacht, grob. Die Wucht des Ausdrucks kann der Ukrainer verbinden mit einer fast zärtlichen Lyrik, was gerade dem Boris neue Facetten eröffnet. Weniger ein kraftloser Zar in Abdankungsstimmung wird hier gezeigt, sondern ein jugendlicher Familienvater, der nicht nur an der Macht der Feinde, sondern auch an der Größe der (zu frühen) Aufgabe zerbricht.”

    [Translated] “… But at the same time, shows Pimen, the old monk, in the smock only as shaky janitor of the story, but Anatoli Kotscherga, formerly even a great Boris, captures this by his character song A generation show that will not leave you cold. He has now handed the baton to Alexander Tsymbalyuk, the 36-year-old, who is already one of the big names in the field, a vast, dark, typically Slavic voice, but much rounder, sleeker, and more elegant than the Nothing is slanderous at the singing of Tsymbalyuk, the forcefulness of expression can connect the Ukrainian with an almost tender lyrics, which opens up new facets to Boris.Which less a powerless Tsar in abdication mood is shown here, but a young family man, which breaks up not only in the power of the enemy, but also in the magnitude of the (too early) task.”
    Markus Thiel, Merkur München 

    “Rollenadäquat als Krönung der Bässe mit einer umwerfenden Stimmintensität interpretiert Alexander Tysymbalyuk die Titelrolle. Sein Boris Godunow ist ein ganz moderner geschliffener Staatsmann, smart nach außen, ein fürsorglicher Vater und Landesvater, in der innerlichen Zerrissenheit durchaus sympathisch, doch letztendlich ein Machtpolitiker bis zur letzten Minute.”

    [Translated] Alexander Tysymbalyuk is the title role of Boris Godunov, smart to the outside, a caring father and father of a country, sympathetic to the inner turmoil, but ultimately a power politician to the last Minute.”
    Michaela Schabel, Klassik

    “Star des Abends war der ukrainische Bass Alexander Tsymbalyuk, der ein sensibles Rollenporträt des Titelhelden geboten hatte.”

    [Translated] “Star of the evening was the Ukrainian bass Alexander Tsymbalyuk, who had offered a sensitive role portrait of the title hero.”
    Die Welt kompakt 

    “In de titelrol imponeerde de jonge Russische bas Alexander Tsymbalyuk. Hij gaf een fascinerend portret van de lijdende en verscheurde tsaar, waarbij hij onbeperkt kon putten uit zijn prachtig getimbreerde, donkere basreservoir. Een vocale prestatie die ik me nog lang zal blijven herinneren.”

    [Translated] “In the title role, the young Russian bass Alexander Tsymbalyuk impressed. He gave a fascinating portrait of the suffering and torn tsar, where he could draw unlimited time from his beautifully timed, dark bass reservoir. A vocal performance that I will remember for a long time.”
    Mordechai Aranowicz, Operamagazine NL 

    “Un Boris Godunov oscuro, que expresa el dolor y la tristeza en la que viven los países en crisis. Calixto Bieito agitó anoche la abarrotada Ópera Estatal de Múnich con su demoleadora versión de la obra de Musorgski, que se saldó con un éxito apoteósico y una inacabable ovación de más de 15 minutos, tanto para el incomensurable protagonista, el joven barítono ucraniano Alexander Tsymbalyik, como para el director musical, Kent Nagano, y el propio Bieito.”

    “RETO CONSIDERABLE / La mayor responsabilidad entre los intérpretes recae sobre el joven Alexander Tsymbalyuk (Boris Godunov), que fue aclamado por su inconmensurable composición vocal y dramatúrgica.”

    [Translated] “A dark Boris Godunov, expressing the pain and sadness in which countries in crisis live. Calixto Bieito stirred last night the crowded Munich State Opera with his devastating version of Musorgski’s work, which resulted in a tremendous success and an endless ovation of more than 15 minutes, both for the incomensurable protagonist, the young Ukrainian baritone Alexander Tsymbalyik, as for the musical director, Kent Nagano, and Bieito himself.”

    “CONSIDERABLE CHALLENGE / The greatest responsibility among the performers lies with the young Alexander Tsymbalyuk (Boris Godunov), who was acclaimed for his immeasurable vocal and dramaturgical composition.”
    Cesar Lopez Rosell for El Periodico

    “Besonders packend jedoch Alexander Tsymbalyuk in der Titelpartie. Mit seinem strahlkräftigen Bariton zeigt der ukrainische Sänger, wie Boris mit den Gespenstern seiner Vergangenheit ringt und ihnen am Ende erliegt – an einem Ende, das von Schuiski mit eiskalter Berechnung herbeigeführt wird.”

    [Translated] Alexander Tsymbalyuk in the title role is particularly gripping, however, with his powerful baritone, the Ukrainian singer shows how Boris wrestles with the ghosts of his past and succumbs to them at the end – at one end, brought about by Schuiski with ice-cold calculation.”

    Peter Hagmann, Neue Zuricher Zeitung

    “Dieser Zar ist einsam, umdüstert und verletzlich – Einer wie keiner: Der Ukrainer Alexander Tsymbalyuk veredelt Calixto Bietos Münchner “Boris Godunow” zur Sensation […]Dann freilich erscheint weit oben, allein und ohne jede Machtinsignien, im dunklen Abendmantel auf einen Treppe der ukrainische Bass Alexander Tsymbalyuk. Ein einsamer, umdüsterter Zar. Verletzlich und gefährlich zugleich, anziehend und abstoßend. Und plötzlich hat diese bis jetzt auf hohem Niveau routinierte Zurichtung ein Herz und ein Zentrum. Der sensationelle 37-Jährige, der bisher klug an der Hamburgischen Staatsoper große Nebenrollen gesungen hat, wird nach diesem grandios einfachen, dabei höchst anrührenden Rollendebüt Weltkarriere machen. Was für eine Stimme aus tönendem Erz und klingender Bronze! Was für ein bezwingend charismatischer Darsteller! Der vor allem gelernt hat, dass leise viel stärker wirkt als laut. Sein Tod, das Verlöschen eines verlassenen, gescheiterten Menschen zwischen Angst, Schmerz und Wahnsinn, der einfach nur zusammensinkt, ohne jedes äußerliche Mätzchen, ohne vokale Drücker, dabei ergreifend in jeder Sekunde, das hat die Opernwelt so noch nicht gesehen.”

    [Translated] “This Tsar is lonely, dark and vulnerable – One like no one: The Ukrainian Alexander Tsymbalyuk ennobled Calixto Bietos Munich” Boris Godunov “a sensation […] Then, of course, appears alone, and without any power insignia, in a dark evening coat on one Stairs of the Ukrainian bass Alexander Tsymbalyuk – A lonely, darkened Czar – vulnerable and dangerous at the same time, attractive and repulsive – and suddenly this up to now high-level routine has a heart and a center The sensational 37-year-old, who used to be smart at the Hamburgische Staatsoper has sung major supporting roles, will make world career after this terrifically simple, yet highly moving role debut. What a voice of sounding brass and sounding bronze! What a compelling charismatic performer! Who has learned above all that quietly much stronger than His death, the extinction of an abandoned, failed man between fear “Pain and madness that just sinks together, without any external antics, without vocal pushers, so moving every second, the opera world has never seen.”

    Manuel Brug, Die Welt 

    “Zum Glück für die Raufbolde hielt sich der Boxer und Abgeordnete Klitschko dabei zurück. Dessen 36-jähriger Landsmann Alexander Tsymbalyuk als Boris hat durchaus etwas von Klitschkos Ausstrahlung. Er fasziniert vor allem mit vokaler Noblesse. Dass er, wie auch ein beträchtlicher Teil der Protagonisten, mit dem russischen Idiom vertraut ist, gehört ebenso auf die Habenseite dieser Produktion. Es ist ein in sich stimmiger Opernabend geworden, an dem das Premierenpublikum nichts auszusetzen hatte.”

    [Translated] “Fortunately for the brawlers, the boxer and deputy Klitschko stayed in. His 36-year-old compatriot Alexander Tsymbalyuk as Boris certainly has something of Klitschko’s charisma, he is fascinated with vocal noblesse, that he, as well as a considerable part of the protagonists Being familiar with the Russian idiom is just as much on the credit side of this production as it has become a coherent opera evening that the premiere audiences had no complaints about.”
    Joachim Lange, Der Standard 

    “Munich fields a strong, well-balanced cast of singing actors. The bass Alexander Tsymbalyuk sings Boris with handsome, lean tone and ably conveys the czar’s mental disintegration, as symbolized by his entrance in the final scene from beneath a conference table.”
    George Loomis, the New York Times 

    “Und Alexander Tsymbalyuk hat dafür das rechte Format. Ein noch junges Mannsbild (von Ferne seinem Landsmann Klitschko gar nicht unähnlich) mit fantastischer Stimme und darstellerischem Charisma. Wenn der am Ende während einer gefühlten Ewigkeit zu Boden geht, kommt niemand auch nur
    auf die Idee, das lächerlich zu finden.”

    [Translated] “And Alexander Tsymbalyuk has the right format for it. A young man’s image (not unlike his compatriot Klitschko from a distance) with a fantastic voice and dramatic charisma, when at the end it sinks for a felt eternity, nobody even comes the idea of ​​finding it ridiculous.”

    Roberto Becker, Neues Deutschland 

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    11 Mar 13 Otello
    Metropolitan Opera

    “Alexander Tsymbalyuk was a sonorous Lodovico.”
    Mike Silverman, Associated Press 

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    02 May 13 Verdi Don Carlo
    Maggio Musicale Fiorentino

    “The young Ukrainian Alexander Tsymbalyuk, who has performed some of the biggest parts of the bass repertoire in the most important international opera houses, with his imposing booming instrument was luxury casting as the Friar. Tsymbaliuk revealed a true bass, homogeneous, with a secure top”
    Nicola Lischi, Opera Britannia 

    “Possente il Frate di Alexander Tsymbalyuk, un classico basso dell’Est dalla voce vibrante e tonante”

    [Translated] “Mighty the Friar of Alexander Tsymbalyuk, a classic bass from the East with a vibrant and thundering voice”
    Mario Dal Bello, Citta Nuova 

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    01 Feb 14 Mozart Don Giovanni
    Royal Opera House

    “Defiant to the last, Kwiecien confronts his nemesis in the form of the most beautifully-sung Commendatore (Alexander Tsymbalyuk) I have ever heard.”
    Michael Church, the Independant 

    “the Commendatore Ukrainian bass Alexander Tsymbalyuk made a mightily impressive house debut.”
    Keith McDonnell, What’s On Stage 

    “Alexander Tsymbalyuk (was) a blackly implacable Commendatore.”
    Rupert Christiansen, The Telegraph 

    “Alexander Tsymbalyuk impressed as a cadaverous and booming Commendatore”
    Jim Pritchard, Seen and Heard International

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    31 Jan 14 Mussorgsky Boris Godunov
    DVD Bayerische Staatsoper

    “Alexander Tsymbalyuk est un grand Boris : voix puissante, émission bien timbrée et articulation parfaite. Il émeut profondément, la vidéo soulignant l’expression des traits, ce qui ne devait pas être perceptible de la salle. Sa relative indifférence du début se mue progressivement en une voix riche et superbement conduite.”

    [Translated] “Alexander Tsymbalyuk is a great Boris: powerful voice, well-timed emission and perfect articulation.It moves deeply, the video emphasizing the expression of the features, which should not be perceptible from the room.Its relative indifference of the beginning gradually changes in a rich voice and superbly driven.”
    Yvan Beuvard, Forum Opera

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    06 May 14 Rimsky-Korsakov The Legend of the Invisible City of Kitezh
    Grand Teatre del Liceu

    “The secondary characters were very well cast. One should note the presence of a sound Dimitris Tiliakos as Fiodor; Vladimir Ognovenko as an excellent Burandai; and Alexander Tsymbaliuk as a remarkable Bediai.”
    José Mª Irurzun, Seen and Heard International

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    12 Jun 14 Puccini Turandot
    Palau de les Arts Reina Sofia

    “Sobrio y elocuente el “Timur” de Alexander Tsymbalyuk.”

    [Translated] “Sober and eloquent the” Timur “of Alexander Tsymbalyuk.”
    Faro de Vigo 

    “Impresionante el bajo Tsymbalyuk, que ya habíamos escuchado en esta ópera con igual éxito.”

    [Translated]  “Impressive bass Tsymbalyuk, which we had already heard in this opera with equal success.”
    Daniel Borras and Ana Galiano, El Mundo

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    28 May 15 DONIZETTI Lucia di Lammermoor
    Teatro alla Scala

    ‘Bravo il basso Ale­xan­der Tsymbalyuk.’

    [Translated] ‘The bass Alexander Tsymbalyuk is good.’
    Il Manifesto 

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    31 Jul 15 Puccini Turandot
    CD Review

    “.. the cast includes… a remarkable Ukrainian bass, Alexander Tsymbalyuk, who invests the role of Timur, Calaf’s father, with plangent tone.”
    Mike Silverman, Washington Times

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    12 Jan 16 Puccini Turandot
    Metropolitan Opera

    “The supporting cast was excellent, particularly Alexander Tsymbalyuk as the old king Timur. He showed a spacious, rich, mahogany-colored bass-baritone, and conveyed extraordinary pathos in his portrayal”
    Eric C Simpson, New York Classical Review 

    “Ukrainian bass Tsymbalyuk created a sensation as Calixto Bieito’s Boris Godunov in Munich several years ago, but he had only previously appeared at the Met in small Verdi roles, Il Trovatore’s Ferrando and Lodovico in Otello. His towering Timur on Monday was only slightly less physically decrepit than usual, but it was sung with a house-filling, gratifyingly full, rich voice in its prime, much different from the “ready-for-retirement” bass we’ve been hearing lately in the role.”
    Christoper Corwin, Parterre 

    “The dark-timbered bass Alexander Tsymbalyuk sustains imposing dignity as frail old Timur.”
    Martin Bernheimer, Financial Times 

    “As Timur, Alexander Tsymbalyuk made the best of his small role. Timur has a big moment when Liu dies and Tsymbalyuk sang with gravitas. Here he poured so much emotion into the music as he cried for Liu’s dead body.”
    Francisco Salazar, Latin Post 

    “the rich-voiced bass-baritone Alexander Tsymbalyuk rendered Timur with dignity”
    Vivien Schweitzer, New York Times 

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    Opéra National de Paris

    “Éblouissante, la basse d’Alexander Tsymbalyuk.”

    [Translated] “Dazzling, the bass of Alexander Tsymbalyuk.”

    Ariane Bavelier, Le Figaro, 13.03.2016

    Philippe Venturini, Les Echos

    “La imponente voz del bajo ucraniano Alexander Tsymbaliuk no pudo resultar más adecuada en el personaje del Rey René de Provenza. Sin duda, es una de las más espectaculares voces graves del anorama actual y encuentra precisamente su mejor empleo en el repertorio ruso. No había escuchado una voz de bajo tan voluminosa y pastosa desde los tiempos de Nikolai Ghiaurov.”

    [Translated] “The commanding voice of the Ukrainian base Alexander Tsymbalyuk could not be more appropriate for the character of King Rene of Provence. Undoubtedly, it is one of the most spectacular deep voices on the current operatic scene and it is in this Russian repertoire in which he excels. One has not heard a low voice so voluminous and full since the time of Nikolai Ghiaurov.”
    José M. Irurzun, Beckmesser 

    “(…) que Alexander Tsymbalyuk en Roi René impose sa basse à la fois claire et sensuelle et sa stature impressionnante. Au sein d’un plateau juste parfait.”

    [Translated] “(…) while Alexander Tsymbalyuk as Roi René sings with both clear and sensual, and impressive stature. In a word, just perfect.”
    Jaqueline Thuilleux, Concertclassic 

    “The lower voices anchor the opera, Alexander Tsymbalyuk’s bass rich as Iolantas father and Andrei Jilihovschi’s baritone dashing as the jaunty Robert.”
    Zachary Woolfe, The New York Times, 14.03.2016 

    “La somptueuse basse ukrainienne Alexander Tsymbalyuk, dans le rôle du Roi René, s’affirme comme une des plus belles voix de la nouvelle génération dans ce registre.”

    [Translated] “Ukrainian bass Alexander Tsymbalyuk is magnificent in the role of King Rene, he has one of the most beautiful voices in this register of the new generation.”
    Alain Duault, Opera Online

    “Le Roi René (qui donnait son nom à l’oeuvre dans les premières esquisses de Tchaïkovski) est magnifiquement interprété par Alexander Tsymbalyuk (le Commandeur en début de saison à Bastille dans Don Giovanni). Sa voix grave au timbre soyeux libère une puissance vocale faisant fi de la masse orchestrale. Son crescendo accompagnant la montée chromatique de son premier air reste l’un des témoignages des nuances qu’il apporte à son chant.”

    [Translated] “King René (…) is beautifully played by Alexander Tsymbalyuk (…). His deep silky timbre releases a vocal power that overrides the orchestral mass. His chromatic crescendo rising from his first air is a testament of the nuances that he brings to his singing.”
    Damien Dutilleul, Olyrix, 12.03.2016

    “Eindrucksvoll auch Alexander Tsymbalyuks stimmmächtiger König René.”

    [Translated] “Impressive also Alexander Tsymbalyuk’s powerful King René.”
    Wiebke Roloff, Opernwelt

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    23 Apr 16 Mussorgsky Boris Godunov
    Bayerische Staatsoper

    “Teilerneuert auch die Besetzung, doch glücklicherweise kehrt Alexander Tsymbalyuk als Boris zurück. Mit physischer Präsenz überzeugt er als Machthaber ebenso wie als Seelenkrüppel, der zuletzt unter dem Konferenztisch seiner Schaltzentrale kauert. Stimmlich veredelt er die lyrischen Selbstgespräche mit scharfem, nie angestrengtem und auch beim Redenschwingen vollmundigem Bass.”

    [Translated] “Partially renews the cast, but fortunately Alexander Tsymbalyuk returns as Boris, with physical presence convincing as ruler as well as soul cripple, finally crouching under the conference table of his control center.” He lyrically refines the lyrical soliloquy with keen, never strained and talking swing full-bodied bass.”
    Andreas M. Bräu 

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    30 Jun 16 TCHAIKOVSKY Eugene Onegin
    Dreseden Semperoper

    “Mit nur einem Auftritt, voluminöser Stimme und der vielleicht bekanntesten Arie der Oper „Ein jeder kennt die Lieb auf Erden“ setzt Alexander Tsymbalyuk dem hervorragenden Solistenensemble das Sahnehäubchen auf.”

    [Translated] “With only one performance, a voluminous voice and perhaps the most famous aria of the opera” Everybody knows the love on earth “, Alexander Tsymbalyuk sets the icing on the cake of this outstanding soloist ensemble.”

    Jens Daniel Schubert, S-Z Online

    “..und Alexander Tsymbalyuk (Fürst Gremin) sorgten für helle Begeisterung.”

    [Translated] “.. and Alexander Tsymbalyuk (Prince Gremin) made for bright enthusiasm.”
    Die Welt 

    ‘Da hätte allerdings ein so feinsinniger Fürst wie der Gremin des ukrainischen Bassisten Alexander Tsymbalyuk keinen Platz. Sonor und ganz geradeaus sang er seine Arie („Ein jeder kennt die Lieb’ auf Erden“), frei von jeder überflüssigen Attitude.’

    [Translated] ‘There would be no room for such a subtle prince as the gremin of Ukrainian bassist Alexander Tsymbalyuk. Sonorous and straight ahead he sang his aria (“Everybody knows love on earth”), free of any superfluous attitude.’
    Michael Ernst, NMZ Online 

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    12 Sep 15 MOZART Don Giovanni
    Opéra national de Paris

    “..Le commendatore-directeur d’Alexander Tsymbalyuk est granitique à souhait”

    [Translated] “..The managing director of Alexander Tsymbalyuk is granite at will”
    Olivier Rouvière, AS Opera 

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    01 May 15 Puccini Turandot
    Teatro alla Scala Milan

    “Timur superlatif d’Alexander Tsymbalyuk, belle basse phrasée à l’archet”

    [Translated] “Superlative timur of Alexander Tsymbalyuk, beautiful low phrasing with the bow”
    Emmanuel Dupuy, Diapason 

    “Alexander Tsymbalyuk est un choix luxueux pour le rôle court qu’est Timur. La voix chaude et volumineuse est immédiatement évidente d’humanité et d’autorité.”

    [Translated] “Alexander Tsymbalyuk is a luxurious choice for the short role Timur. The warm, voluminous voice is immediately obvious of humanity and authority.”
    Yannick Boussaert, Forum Opera 

    “L’esotismo di armonici distingue e nobilita il Timur di Alexander Tsymbalyuk.”

    [Translated] “The harmonic exoticism distinguishes and ennobles the Timur of Alexander Tsymbalyuk.”
    Francesco Lora, Ape Musicale

    “.. l’ottimo Timur di Alexander Tsymbalyuk, giovane basso forte di un Turandot – Scala, 2015 gradevolissimo timbro brunito e voce carica di armonici. Da segnalare in particolare il suo struggente “Liù, sorgi!”, nell’ultima apparizione al terzo atto.”

    [Translated] “.. the excellent Timur by Alexander Tsymbalyuk, a young strong bass from a Turandot – Scala, 2015 very pleasant burnished tone and a voice full of harmonics. In particular, his poignant” Liù, sorgi! ” act.”
    Camilla Simoncini, GB Opera

    “Buono il Timur di Alexander Tsymbalyuk.”

    [Translated] “Good Timur by Alexander Tsymbalyuk.”

    Stefano Jacini, Giornale della Musica 

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    17 Sep 16 Puccini Tosca
    Opéra Bastille, Paris

    “Excellent Angelotti d’Alexander Tsymbalyuk dont le timbre magistral confère une grande dignité au Consul évadé”

    [Translated] “Excellent Angelotti Alexander Tsymbalyuk whose masterful tone gives a great dignity to the Escaped Consul”
    Chantal Cazaux, L’Avant-Scène Opéra

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    28 Nov 16 Shostakovich Lady Macbeth of Mtsensk
    Bayerische Staatsoper

    “Im Gesang selbst finden keine Halbherzigkeiten statt. Bis in die Nebenrollen hinein ist dieses Ensemble exquisit besetzt. Allerdings schnarrt Alexander Tsymbalyuk als Polizeichef mit seinem Bass bedrohlicher als er sich auf dem Bürostuhl dreht.”

    [Translated] “In the song itself, there is no half-heartedness, and this ensemble is exquisitely staffed right up to the minor parts, although Alexander Tsymbalyuk, as chief of police, snarls with his bass as he turns on the office chair.”
    Michael Bastian, Abendzeitung

    “Im Polizeirevier, eine der besten Humoresken Schostakowitschs, werden die Beamten auf rollenden Bürostühlen durch die Gegend gefahren. Der Einfall erschöpft sich schnell, dafür erlebt man mit Alexander Tsymbalyuk einen gnadenlos überbesetzten Amtschef. Ihm hätte man eigentlich die Partie des Schwiegervaters Boris geben sollen.”

    [Translated] “In the police station, one of Shostakovich’s best humorists, the officials are driven around on rolling office chairs, and the incident is quickly exhausted, with Alexander Tsymbalyuk experiencing a mercilessly overburdened chief of staff, who should have been given the role of father-in-law Boris.”
    Markus Thiel, Merkur 


I puritani Sir Giorgio Valton
Lucia di Lammermoor Raimondo
Maria Stuarda Giorgio Talbot
Don Giovanni Commendatore
Le nozze di Figaro Bartolo
Boris Godunov title role
La Boheme Colline
Tosca Angelotti
Turandot Timur
Il Barbiere di Siviglia Basilio
Lady Macbeth of Mtensk Chief of Police/Old Convict
Eugene Onegin Prince Gremin
Pique Dame Surin
Iolanta King Rene
Il Trovatore Ferrando
Macbeth Banquo
Rigoletto Sparafucile + Monterone
Aida Il Re
Don Carlos Il Frate
Simon Boccanegra Jacopo Fiesco
Attila Leone
Otello Ludovico
Das Rheingold Fafner, Fasolt
Siegfried Fafner
Parsifal Titurel
Lohengrin Edler
Tannhäuser Biterolf
Die Meistersinger von Nürnberg Nachtwächter