Alexey Dolgov

“Fortunately, Ms. Naglestad is aided by a marvelous supporting cast. A big hat tip to handsome Russian tenor Alexey Dolgov who, ironically, sings the role of Pinkerton, the original ugly American. With a cocksure swagger and a clear, confident, authoritative voice, Mr. Dolgov at once inhabits this self-assured Yank, while also understanding his essential shallowness. As an actor, Mr. Dolgov also shines in the opera’s final scenes. Projecting his character’s emotional cowardice with considerable skill, his performance adds further weight to the tragedy of Butterfly’s final scene.”
The Washington Times


Alexey has worked with conductors such as Placido Domingo, Daniel Harding, Semyon Bychkov, Seiji Ozawa, Kirill Karabits, Gianandrea Noseda, Alexander Shelley, Philippe Auguin, Patrick Summers, Alain Altinoglu, Robin Ticciati, Renato Palumbo, Omer Meir Wellber, Leopold Hager and Dmitri Jurowski.

This season includes Pinkerton in Madama Butterfly at Opera Royal de Wallonie, the title role in Les contes d’Hoffmann at Korea National Opera, and Lensky Eugene Onegin at New Israeli Opera.

Alexey has sung leading roles on the stages of Metropolitan Opera (in New York and on tour), Bayerische Staatsoper (in Munich and on tour), Washington National Opera, Deutsche Oper Berlin, Opera di Roma, Liceu Barcelona, Opera de Nice, Bolshoi Theatre, New Israeli Opera Tel Aviv and Jesrusalem, Saito Kinen Festival, Baden-Baden Festival, Theatre des Champs Elysées Paris, Royal Opera House Covent Garden, Opera Lucerne, Athens Megaron, Bolshoi Theatre Moscow, Opéra de Montréal, Deutsche Staatsoper Berlin ,Orchestre Philharmonique du Lux-embourg, Houston Grand Opera, Los Angeles Opera, Teatro Municipale Giuseppe Verdi (Saler-no) and Teatro Comunale Trieste.

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    13 Sep 19 PUCCINI Madama Butterfly
    Opera Royal de Wallonie

    “Russo pure Alexey Dolgov, tenore dall’ottima dizione e voce luminosa, molto adatto alla cantabilità che richiede Puccini, che si fa notare sin dalle prime battute e riesce a far sembrare pure simpatico il suo giovane Pinkerton che si impegna spensierato in un matrimonio da operetta.”

    [Translated] “Russo also Alexey Dolgov, tenor with excellent diction and bright voice, very suitable for the singability that Puccini requires, which stands out right from the start and manages to make his young Pinkerton, who is carefree in an operetta wedding, look nice too.”
    Alma Toretta, Giornale Della Musica, 16 September 2019

    “Le Pinkerton d’Alexey Dolgov n’en est pas moins appuyé sur un ténor vaillant, avec panache dans les moments lyriques et l’émotion pour son Adieu, au refuge fleuri de joie et d’amour… Son personnage évolue du cynisme vers le remords, en appliquant certes assez littéralement la direction d’acteur.”

    [Translated] “Alexey Dolgov’s Pinkerton is no less supported by a valiant tenor, with panache in the lyrical moments and the emotion for his Farewell, to the hideaway of joy and love…His character evolves from cynicism to remorse, applying quite literally the direction of the actor.”
    Joel Heuillon, Olyrix, 15 September 2019

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    14 Apr 19 MASCAGNI Silvano
    Scottish Opera

    “It’s utterly charming. Dolgov’s…his lyrical tenor suits the music well.”
    Catriona Graham, Opera Critic, April 2019

    “Tenor Alexey Dolgov brought heroic stamina to the title role…”
    Ken Walton, The Scotsman, 19 April 2019

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    09 Mar 19 TCHAIKOVSKY Eugene Onegin
    Washington National Opera

    And as Lensky, Alexey Dolgov stops the show with his famous meditation of love lost, and a life cut short; as framed by Levine and Bender’s work, you would have to be made of stone to watch Dolgov’s performance without tears.”
    Andrew Walker White, DC Metro

    “With “Kuda, kuda, vy udalilis,” Dolgov surges vocally and emotionally and he breaks open our hearts, as we recognize the tragedy of a man who is giving up on life before he’s even tasted fully its fruits.”
    Susan Galbraith, DC Theatre Scene

    “the sobbing quality of Dolgov’s voice on one of Tchaikovsky’s most plangent melodies was outstanding.”
    Charles T. Downey, Washington Classical Review

    “Alexey Dolgov sings powerfully and with great, clear emotion as the luckless Lensky.”
    Gary Tischler, The Georgetowner

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    28 Jan 19 TCHAIKOVSKY Iolanta
    Metropolitan Opera

    “Tenor Alexey Dolgov, who was covering for an ailing Matthew Polenzani as her hopeful lover Count Vaudémont, sang with an unforced, ringing tone that filled the auditorium. He looked every inch the fairy tale nobleman. Dolgov sang the part as though born to do it.”
    Joanna Barouch, Broadway World

    “tenor Alexey Dolgov (filling in for the indisposed Matthew Polenzani) was equally exciting as Vaudémont – young, dashing and handsome – his vibrant voice a perfect fit with Yoncheva’s in the stirring melody that serves as a leitmotiv throughout the opera.”
    Rick Perdian, Seen and Heard International

    “Filling in for Matthew Polenzani, who withdrew due to illness, tenor Alexey Dolgov was about as fine a same-day replacement as anyone could ask for. He gave an energetic portrayal of the dashing Count Vaudémont, overflowing with passion in his sudden love for Iolanta. The ringing brightness of his voice and his natural, idiomatic Russian style fit the role perfectly.”
    Eric C. Simpson, New York Classical Review

    “In the role of Vaudemont, Dolgov had an impressive evening showcasing his dominance in Russian repertoire. While he was filling in for an ill Matthew Polenzani, Dolgov seemed to inhabit the count’s youth with swagger. He showcased curiosity and agility as he moved about. More importantly he was visibly invested in the character, searching for Yoncheva’s Iolanta and attempting to connect with her … his voice bloomed and his register brought some impressive high notes. During the duet, he exhibited an ardent and confident tone that was coupled with precise diction. Each phrase climaxed with ease and beauty and he gave off a sense of complete control throughout.”
    David Salazar, Opera Wire

    “tenor Alexey Dolgov offered bright, boyish tone as the “prince charming” Vaudémont.”
    James Jorden, New York Observer

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    01 Feb 12 Puccini Butterfly
    Rome Opera

    “Alexey Dolgov as Pinkerton was easily the most accomplished of the singers. He is athletic of voice and movement with an appropriately dashing stage presence.”
    Jack Buckley, Seen and Heard International.

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    01 Jan 12 Rossini Tancredi
    Deutsche Oper Berlin

    “Sängerisch besitzt der Abend hohes Niveau, […] makellose Tenor von Alexey Dolgov geben den Senatoren hinreichend Statur”

    [Translated] “Of singers the evening has a high level, […] the immaculate tenor of Alexey Dolgov gave the senators sufficient stature”
    Martin Wilkening, Berliner Zeitung

    “As Amenaida’s father Argirio, tenor Alexey Dolgov showed a clear fresh well lined up lyric tenor voice with a good high C”
    Lorenzo Bassi, GB Opera

    “Argirio verkörpert mit ansehnlichem Tenor Alexey Dolgov. Ihm sind alsbald dankbarere Rollen zu wünschen.”

    [Translated] “Argirio plays with a handsome tenor Alexey Dolgov, who soon wishes him more thankful roles.”
    Klaus Geitel, Berliner Morgenpost

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    01 May 11 Ariadne auf Naxos
    Houston Grand Opera

    “And in the leading roles, Susan Graham, Laura Claycomb, Christine Goerke and Alexey Dolgov each meet the unique demands with distinction.[…]As Bacchus, Alexey Dolgov’s gleaming tenor and easeful nobility make his 11th-hour arrival as Ariadne’s rescuer seem a natural conclusion rather than a dramatic non-sequitur.”
    Everett Evans, Houston Chronicle

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    01 Mar 11 Butterfly
    Washington National Opera

    “An exceptionally charismatic Pinkerton, Alexey Dolgov crafts a very believable young man – flawed, likable and, when it comes time, convincingly remorseful. With naturalness and superb timing, Dolgov keeps what can be a stiffly delivered role living, breathing and fresh. Add to that a compellingly virile tenor with some very satisfying high notes and this was a Pinkerton who left us wanting more. ”
    Kate Wingfield, Metro Weekly

    “Fortunately, Ms. Naglestad is aided by a marvelous supporting cast. A big hat tip to handsome Russian tenor Alexey Dolgov who, ironically, sings the role of Pinkerton, the original Ugly American. With a cocksure swagger and a clear, confident, authoritative voice, Mr. Dolgov at once inhabits this self-assured Yank, while also understanding his essential shallowness. As an actor, Mr. Dolgov also shines in the opera’s final scenes. Projecting his character’s emotional cowardice with considerable skill, his performance adds further weight to the tragedy of Butterfly’s final scene.”
    Terry Ponick, Washington times

    “Alexey Dolgov’s Pinkerton was a cad, but with a faint heartbeat detectable from the start, which made the remorse at the end palatable. The tenor’s gentle shading of the line “Bimba, bimba, non piangere” was a highlight of the evening. ”
    Tim Smith, Baltimore Sun

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    01 Nov 10 Roberto Devereux
    Montreal Opera

    “Le jeune ténor russe Alexey Dolgov joue bien ce Devereux équivoque, la voix est bonne et même raffinée”.

    [Translated] “The young Russian tenor Alexey Dolgov plays this equivocal Devereux well, the voice is good and even refined”.
    Claude Gingras, La Presse

    “Dolgov […] made his debut outside Russia a mere three years ago.  He’s a star on the rise”
    Alan Conter, Globe and Mail

    “The Russian Tenor Alexey Dolgov, was the sensational vocal event of the evening bar none. Mr. Dolgov came into the sight-line of COMMANDOpera last year while researching a Mariinsky theatre related article. The young tenor has only recently begun to essay roles in the past few years in Russia, and immediately became noticed across Europe, and naturally the Houston Grand Opera has nailed him in for three consecutive seasons including 2011. If Miss Netrebko would be watching for which other magnificent Russian artist would breakout to surpass her achievement’s, it is unquestionably found in the form of this tenor. The platinum timbre of Mr. Dolgov’s instrument is of the most top tier calibre. To rival this artist, Mr. Kauffman or Mr. Calleja would be obliged to bring their A game to the table: nothing less. End of story. Mr. Dolgov’s battery of technical artillery is already formidable, and there is no question of the technique which underlines each and every turn Mr. Dolgov takes. Whether in solo, duet, trio, or ensemble, Mr. Dolgov’s instrument soars through each with apparent ease. The torture this artist painted with the air ‘Ed ancor la tremenda porta’ left the listener bereft with anguish. When Mr. Dolgov floated the phrase ’in braccia a morte’ with the softest pianissimo heard at the back of the theatre, it was all over. Maestro Pavarotti in his younger days owned an instrument which could reduce any man to tears given a sheer dramatic beauty within his singular instrument. While Mr. Dolgov enjoys his own uniquely timbered instrument, it owns that same and precise emotive quality within hitherto known only to Maestro Pavarotti. COMMANDOpera advises anyone who follows this art form to take in something of Mr. Dolgov if the opportunity presents itself at some point down the road. This is an instrument of first consequence”.

    “There were no grounds for second-guessing in the case of Alexey Dolgov, a clarion Russian tenor, as Roberto.”
    Arthur Kaptainis, Montreal Gazette

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    01 Oct 10 Otello (Verdi) Tour with Daniel Harding
    Baden-Baden, Luxembourg, Paris and Dortmund

    “Als Cassio lies Alexey Dolgov mit angenehmen Timbre der gesund und voll klingenden Stimme aufhorchen. Es wäre nicht das erste Mal dass ein Tenor über den Cassio den internationalen Durchbruch schafft”.

    [Translated] “Alexey Dolgov made you prick up your ears with his enjoyable timbre and full sounding voice. It would not be the first time that a Tenor would have his international breakthrough singing Cassio.”
    Christoph Broermann for Opernnetz

    “Auch die kleineren Rollen waren optimal besetzt. Insbesondere gefiel der Cassio von Alexey Dolgov mit seiner schlanken gut sitzenden Tenorstimme”

    [Translated] “The smaller roles were perfectly cast. With his lean and well fitted tenor voice, Alexey Dolgov’s Cassio was a particularly appealing portrayal”.

    “Dass auch Cassio und Ludovico mit zwei Russen, dem betörend Lyrischen Tenor Alexey Dolgov und dem sonoren Bass Stanislav Shvets erstklassig besetzt waren versteht sich ohnehin. ”

    [Translated] “It goes without saying that with Cassio and Ludovico, the beguiling tenor of Alexey Dolgov and the sonorous bass of Stanislav Shvets were a first class cast, ”
    Bernd Aulich for Recklinghäuser Zeitung

    “Alexey Dolgov, Christina Daletska[..] und Stanislav Shvets rundeten ein Sängerensemble ab, das  sich durch Geschlossenheit auf höchster Ebene auszeichnete.”

    [Translated] “Alexey Dolgov, Christina Daletska[..] und Stanislav Shvets excelled through their unity on the highest level”
    Loll Weber for Luxemburger Wort

    “Alexey Dolgov gestaltete den Cassio mit seiner leicht dahinfliessenden Tenorstimme” 

    [Translated] “Alexey Dolgov portrayed Cassio with his easy mellifluous tenor. ”
    Marc Fielder

    “Erwähneswert der Belcato-fähige Cassio Alexey Dolgovs”

    [Translated] “Mentioned the Belcato-capable Cassio Alexey Dolgovs”
    Alexander Dick for Badische Zeitung

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    01 Aug 10 Onegin with the Bolshoi on Tour
    Royal Opera House Covent Garden

    “Alexey Dolgov’s lyric tenor is perfectly cast as Lensky.”
    Richard Fairman, the Financial Times

    “Alexey Dolgov sings Lensky’s aria of lost youth and love quite wonderfully. ”
    Edward Seckerson,  the Independent

    “The lead roles were all beautifully sung […] Alexey Dolgov (Lensky) and Margarita Mamsirova (Olga) providing excellent support.”
    William Hartston, the Daily and Sunday Express

    “Alexey Dolgov’s  bright-toned Lensky is a match for Monogarova and Kwiecien’s fine interpretations.”
    Rupert Christiansen, the Telegraph

    “I liked the allocation of Monsieur Triquet’s song to Lensky: it made dramatic sense and it was beautifully rendered by Alexei Dolgov, whose nuanced characterisation – dramatically as well as vocally – was exemplary.”
    Agnes Kory, Musica Criticism

    “Monogarova’s beautifully sung, persuasively acted Letter Scene is a high point, as is Alexei Dolgov’s delivery of Lensky’s aria.”
    Barry Millington, the Evening Standard

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    01 Jan 10 Tosca
    Houston Grand Opera

    “Alexey Dolgov sings with warm lyricism and projects gallant presence as romantic artist Cavaradossi […] Dolgov’s bright, pleasing tenor and natural acting add up to a fine Cavaradossi. I especially like the maturation he achieves after his suffering at the hands of Scarpia. By Act 3, Dolgov conveys a new depth, investing his impassioned farewell to life (and Tosca) with soulful beauty.”
    Everett Evans, The Houston Chronicle

    “Alexey Dolgov matches Racette in every department, giving a passionate, powerful and unabashedly romanticized portrayal of Cavaradossi. “Recondita armonia” immediately establishes his prowess among the cast, and his confident portrayal of the doomed painter is touching indeed. The lovers’ two big duets in the outer acts are glorious, the voices feeding off each others’ power and flexibility and blending wonderfully in their a capella “Trionfal…di nova speme.”
    Marcus Karl Maroney, Concerto Net

    “Dolgov acquits himself best, gunning with flair through this tenor’s night out, between the deliciously bookended arias Recondita armonia in Act I and E lucevan le stelle in Act III.”
    John DeMers, Houston Arts Week

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    10 Feb 13 Mozart Die Zauberflöte
    Opera de Nice

    “L’interprétation est excellente grâce à une distribution solide. Alexey Dolgov est un Tamino crédible et appliqué en apprenti, léger et tendre en amoureux”

    [Translated] “The interpretation is excellent thanks to a solid cast Alexey Dolgov is a credible Tamino and applied as an apprentice, light and tender in love”
    Channel Riviera

    “Le jeune ténor sibérian Alexey Dolgov, (Tamino) soliste dans la troupe du Théâtre Bolchoï constitute la vraie rélévation de la soirée, déja connu au plus haut niveau sur les scènes internationales, il affirme und solide présence vocale, un timbre de belle couleur, et une ampleur prometteuse.”

    [Translated] “The young Siberian tenor Alexey Dolgov, (Tamino) soloist in the troupe of the Bolshoi Theater is the real highlight of the evening, already known at the highest level on the international stages, he asserts a strong vocal presence, a stamp of beautiful color, and a promising scale.”
    L’avenir (YC)

    “Une époustouflante flute enchantée. La distribution vocale est jeune et de qualité: Olga Pudova (La Reine de la nuit) , très  applaudie, Alexey Dolgov (Tamino)”

    [Translated] “A breathtaking magic flute.” The vocal distribution is young and of quality: Olga Pudova (The Queen of the night), very applauded, Alexey Dolgov (Tamino)”
    André Peyre, Nice-Matin

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    11 Mar 13 Verdi Otello
    Metropolitan Opera

    “Alexey Dolgov impressed with ardent, unforced vocalism as Cassio”
    Mike Silverman, Associated Press

    “Strong support, and further excellent character work, comes from Alexey Dolgov as innocent Cassio and Eduado Valdes as the red-blooded Roderigo.”
    Simon Parris, Simon Parris: Man in Chair 

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    01 Jul 13 Tchaikovsky Onegin
    Tel Aviv Opera House

    “In the role of Lensky, Alexey Dolgov’s soft, expressive lyric tenor made his farewell-tolife aria a genuinely moving experience”
    Uri Eppstein, the Jerusalem Post 

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    23 Jan 15 Puccini Madame Butterfly 23 January 2015
    Houston Grand Opera

    “Tenor Alexey Dolgov sang with a ring, freshness and fire that captured Pinkerton’s ardor in Act 1 and his remorse in Act 3, when the sailor returned to Butterfly’s home but shrank from facing her. Dolgov also treated Puccini’s music to dashes of delicacy that many tenors can’t muster.”
    Steven Brown, Houston Chronicle 

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    10 Jul 15 Donizetti Roberto Devereux
    Bayerische Staatsoper

    “Alexey Dolgov was an impetuous Essex who managed a magnificent rendition of his prison aria”
    G J Dowler, Classical Source 

    “Dolgov acted well throughout, smiling self-assuredly and nonchalantly playing with his cuffs, even on the verge of death….his heroic tenor voice and self-sacrificing demeanour in his long solo scene broke my heart”
    Ilana Walder Beisanz, Bachtrack 

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    11 Mar 15 Donizetti L'Elisir d'Amore
    The Israeli Opera

    “while her tenor counterpart Alexey Dolgov epitomizes Nemorino with a light, agile voice”
    Lior Levy, Midnight East 

    “Alexei Dolgov’s soft and heartrendingly impressive lyric tenor, as Nemorino, made one wonder why Adina had not fallen in love with him sooneer – but then there would have been no opera. His aria Una furtiva lagrima (“One furtive tear”) was one of the performance’s highlights.”
    Ury Eppstein, The Jerusalem Post 

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    26 Oct 15 Giacomo Puccini Tosca
    Houston Grand Opera

    “Siberian tenor Alexey Dolgov, as Cavaradossi, was never booed off stage. On the contrary, his singing was bright and passionate, and he was off and running from the very first notes. He looks the part, as well, poetic and idealistic. He has the right energy for this role. Part of Puccini’s gifts to opera are his stunning duets and ensemble passages, Dolgov voice was always discernible during these moments without dominating the ensemble.”
    Theodore Bale, Houston Culture Map

    “Alexey Dolgov returns as Cavardossi and has found much nuance in the role since 2010. … If Dolgov’s “E lucevan le stelle” is impressive because of its subtlety and control”
    Marcus Karl Maroney, Concerto Net

    “Cursed with a straggly greasy wig, Dolgov doesn’t let that deter him. Although his sound is slighter than the heft of Tosca’s, he’s an ideal Cavaradossi: impassioned and impetuous; lean enough to fit into the shirt-and-slacks neo-Romantic look by costumer Bunny Christie; and blessed with a plangent graceful tenor that reminds one of Domingo, our century’s greatest tenor. Under his caressing finesse, Cavaradossi’s two stellar arias, “Recondita armonia” (“Strange harmony”) and “E lucevan le stelle” (“The stars were shining”), are paragons of male singing, warm and lustrous, virile and sexy.”
    D. L. Groover for Houston Press 

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    20 Apr 16 Verdi Otello
    The Metropolitan Opera

    “Alexey Dolgov brought a bright voice to Cassio”
    David M Rice, Classical Source 

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    20 Jan 16 Verdi Otello
    Liceu Barcelona

    “Alexey Dolgov passt stimmlich und äußerlich gut in die Rolle des Cassio”

    [Translated] “Alexey Dolgov fits vocally and externally well in the role of Cassio”
    Helmut Pitsch, Opernnetz

    “Destacados, por su parte, el Cassio del joven tenor Alexey Dolgov”

    [Translated] “Featured, meanwhile, the Cassio of the young tenor Alexey Dolgov”
    Fernando Sans Riviere, Beckmesser 

    “Avant de le chanter au Met’ en avril, le ténor russe Alexeï Dolgov incarne d’un timbre clair fort avantageusement impacté un Cassio évident, à l’aigu flatteur.”

    [Translated] “Before singing at the Met ‘in April, the Russian tenor Alexei Dolgov embodies a clear tone very advantageously impacted as an obvious, flattering high Cassius.”

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    25 Jun 16 Bizet Les pêcheurs de perles
    The Israeli Opera

    “In the role of Nadir, Alexei Dolgov’s soft tenor sounded emotionally intense and expressive. Their duet and Nadir’s aria in Act I were among the performance’s highlights.”
    Ury Eppstein, The Jerusalem Post 

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    12 Feb 17 Verdi Requiem
    Houston Grand Opera

    “Tenor Alexey Dolgov’s ringing, vibrant voice brought out the Requiem’s fervor, yet he also had sweetness for the most prayerful moments.”
    Stephen Brown, Texas Classical Review

    “Alexey Dolgov’s bright tenor voice matched Meade in the ability to float the soft passages and still be able to deliver some fine Italianate high notes in the Ingemisco.”
    Gregory Sullivan Isaacs, Theater Jones

    “Tenor Alexey Dolgov’s clean, clarion brightness cut straight through Verdi’s prayer in “Ingemisco”
    D. L. Groover, Houston Press 


Les pêcheurs de perles Nadir

Prince Igor Vladimir Igorevitch

Maria Stuarda Leicester
L’elisir d’amore Nemorino
Roberto Devereux title role
Anna Bolena Lord Percy

Silvano title role

Cosi fan tutte Ferrando
Don Giovanni Don Ottavio
Die Zauberflöte Tamino
Entführung aus dem Serail Belmonte
La clemenza di Tito Tito

La Bohème Rodolfo
Butterfly Pinkerton
Gianni Schicchi Rinuccio

Aleko Young Gipsy
Francesca da Rimini Dante
The Bells

May Night Levko
The Golden Cockerel Prince Guidon
The Tsar’s Bride Lïkov

Le Rossignol-Renard The Fisherman
The Rakes Progress Tom Rakewell

Jewish Folk Songs

Eugene Onegin Lensky
Iolanta Vaudemont

La Traviata Alfredo
I Due Foscari Jacopo
Otello Cassio
Rigoletto Il duca


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    Scriabin Symphony 1 and 5

    Label: https://www.prestomusic.com/classical/products/8463900--scriabin-symphony-no-1-prometheus#about

    Release Date: 28 Sep 18

    Oslo Philharmonic and Vasily Petrenko