Andrey Zhilikhovsky

The 20/21 season sees Andrey’s house debut at the Bayerische Staatsoper in L’elisir d’Amore and La bohème, and his house debut at the Royal Opera House Covent Garden. Later he debuts at the Liceu Barcelona and returns to the Bayerische Staatsoper, Dresden Semperoper, Bolshoi, Glyndebourne Festival, and Metropolitan Opera.


Moldovan baritone Andrey Zhilikhovsky completed his studies in choral conducting at the Stefan Nyaga Musical College in Chișinău, Moldova. Whilst at college, he also studied as a vocalist and upon graduation was given a place at the Rimsky-Korsakov State Conservatory in St Petersburg where he made his debut in the title role of Eugene Onegin.

He was a finalist in the St. Petersburg International Vocal Competition (2007) and went on to win third prize in the Obraztsova International Competition for Young Singers (2009) and third Prize at the Maria Bieshu International Vocal Competition.


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    25 Oct 19 PUCCINI La Bohème
    Metropolitan Opera, New York

    ” Moldovan baritone Andrey Zhilikhovsky brought burly sound and impish charm to Schaunard”

    Anthony Tommasini, The New York Times, 27 October 2019

    “Zhilikhovsky offered a campy, flamboyant Schaunard, matched with a clear, peppy sound.”

    Callum John Blackmore, Parterre box, 26 October 2019

    “Andrey Zhilikhovsky brought an impressive baritone to the role of Schaunard. He doesn’t get any aria nor any virtuosic showpiece, but he does get to engage in the ensembles. During his exchanges in Act one, two and four, one could hear a promising voice that is more suited to bigger roles. Still, he managed to stand out in each moment providing energy on stage as he pranced around in Act four and attempted ballet moves. He had a sort of big brother quality, particularly in Act one as he protected the food he had obtained and put it away.”

    Francisco Salazar, Opera Wire, 1 November 2019

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    19 May 19 ROSSINI Il barbiere di Siviglia
    Glyndebourne Opera Festival

    “As Figaro, Andrey Zhilikhovsky burst on to the stage chest first. A natural showman with a big warm baritone, he commanded every scene he appeared in.”

    Amanda Holloway, The Stage, 20 May 2019

    “Oodles of personable charm inform Andrey Zhilikhovsky’s Figaro; an expansive ‘Largo al factotum’ sets out his stall with bravura, and in duets and ensembles without being over dominant his virile baritone is heard to advantage.”

    Alexander Campbell, Classical Source, May 2019

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    13 Apr 19 PROKOFIEV Betrothal in a Monastery
    Staatsoper Unter den Linden, Berlin

    “Andrey Zhilikhovsky ist ein herrlich verdruckster Ferdinand”

    (Translated) “Andrey Zhilikhovsky is a wonderfully contrived Ferdinand”

    BR Klassik, 15 April 2019

    “Andrej Zhilikhovskys verführerischer Tenor verleiht dem Don Ferdinand eine warme wie liebenswert naive Anmutung.”

    (Translated) “Andrey Zhilikhovsky’s seductive tone gives Don Ferdinand a warm and lovingly naive appearance.”

    Die Deutsche Buhne, 15 April 2019

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    30 Oct 18 MOZART Le Nozze di Figaro
    Opera di Roma

    “Il Conte di Andrey Zhilikhovsky era molto spigliato sia nell’esibire le sue grazie alle donne del palazzo, consenzienti o meno che fossero, sia nel canto, che non poteva essere, dato il personaggio, molto stilizzato.”

    (Translated) “The Count of Andrey Zhilikhovsky was very confident both in expressing his thanks to the women of the building, (consenting or not) and in the song…”

    Mauro Mariani, Giornale della Musica, 31 October 2018

    “Count Almaviva was sung and acted in fine style by Andrey Zhilikhovsky (…) Zhilikhovsky’s beautifully executed phrasing caught Almaviva’s character perfectly, the arrogant curl in his voice reflecting his underlying contempt. In the aria “Vedrò, mentr’io sospiro” he rages at the lower orders’ temerity in challenging him, his voice full of anger, frustration and vicious intent. It was a compelling portrayal, one built upon his excellent technique, with its wonderful versatility to manage dynamics, coloring and accented emphases. Moreover, it is a voice with a beautifully seductive quality.”

    Alan Neilson, Operawire, 18 November 2018 

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    28 Apr 18 ROSSINI Il Barbiere di Siviglia
    Washington National Opera

    “From his bold and flashy entrance to the very last bow, Figaro steals every scene he even passingly graces. Andrey Zhilikhovsky has an incredible baritone voice and plays the cocksure barber winningly.”

    Rachel Goldberg, Broadway World, 29 April 2018

    “outstanding company debuts further enhanced the evening, beginning with the American debut of Moldovan baritone Andrey Zhilikhovsky in the title role. His Figaro strode through the audience with confidence for his famous entrance aria, crowned with beautifully placed and puissant top notes and tripping diction in the fast sections, at times slightly rushed but exciting.”

    Charles T. Downey, Washington Classical Review, 29 April 2018

    “Moldovan baritone, Andrey Zhilikhovsky, leads this talented cast and is absolutely everything an opera lover could want Figaro to be. Clever, greedy, charming, Zhilikhovsky’s American debut as Figaro was a tour de force for the baritone, whose acting chops were equaled by his incredible voice.”

    Erin Ridge, 1 May 2018, MD Theatre Guide

    “the newly landed stellar body in our midst, baritone Andrey Zhilikhovsky.  From the back of the Kennedy Center’s Opera House, his Figaro launched the character’s first clarion notes in darkness under the normally unforgiving balcony, making the audience all but erupt with glee. Then he did indeed swagger down the aisle and onto the stage with such confidence and bravura that there was not a one of us who wouldn’t have laid down our nuclear arms.”

    Susan Galbraith, DC Theatre Scene, 4 May 2018

    “The ostensibly central character of The Barber of Seville, namely the character of Figaro, is portrayed and sung magnificently by baritone Andrey Zhilikhovsky. (…) Mr. Zhilikhovsky delights throughout and conveys a myriad of moods. Particularly striking is Mr. Zhilikhovsky’s rich baritone voice as he sings of his many talents that make him a good barber, a good matchmaker, etc.  (“Largo al factotum della citta”; “Make way for the factotum of the city”).”

    David Friscic, DC Metro Theater Arts, 5 May 2018 

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    13 Jul 17 DONIZETTI Don Pasquale
    Glyndebourne Festival

    “Andrey Zhilikhovsky’s Malatesta is the smoothest of operators, with the vocal skills to match; Zhilikhovsky’s virtuosic patter duet with Girolami, in particular, is a triumph.”
    Hannah Nepil, Financial Times, 14 July 2017

    “The finest principal performance comes from Andrey Zhilikhovsky as Malatesta – a suave, strongly sung account of the arch-manipulator.”
    George Hall, The Stage, 14 July 2017

    “The standout performance comes from Andrey Zhilikhovsky as Dr Malatesta, whose robust baritone combines with a strong ‘all-seeing’ presence.”
    Sam Smith, Music OMH, 17 July 2017

    “Zhilikhovsky’s baritone was unforced and focused, even of strength, and he used a resonant legato to shape the bel canto lines effectively. He was a convincingly cunning schemer…”
    Claire Seymour, Opera Today, 15 July 2017

    “Suave of both manner and voice, it was indeed the Malatesta of the Moldovian baritone Andrei Zhilikhovsky that practically stole the show.”
    Brian Robins, Opera Magazine, July 2017

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    22 Oct 16 TCHAIKOVSKY Eugene Onegin
    Icelandic Opera

    “Zhilikhovsky was very convincing, both as the arrogant Onegin and also as the devastated man in the end of the opera.”
    “Zhilikhovsky var einnig ákaflega sannfærandi, bæði sem hinn hrokafulli flagari og svo sem niðurbrotinn maður í lok óperunnar.”
    Jónas Sen, Fréttablaðið Newspaper, 25 October 2016

    “…most notable being the title role sung by the Moldovan baritone, Andrey Zhilikhovsky, something of an Onegin specialist. His was a splendid performance, matching a lovely rich voice with (and this is essential) the ability to turn from a libertine charmer into a man utterly broke by the missed opportunity for happiness and fulfilment.”
    Neil Jones, Opera Now, January 2017

    “Onegin himself evolved compellingly from terrifying control to sick-dog delirium- and was sung with eloquent focus by the Moldovan baritone Andrey Zhilikhovksy.”
    Hilary Finch, Opera Magazine, February 2017

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    07 Sep 16 PUCCINI La bohème
    Teatro Municipal Santiago

    “…the evening’s most interesting discovery was the young Moldovan baritone Andrey Zhilikhovsky: Schaunard doesn’t offer much opportunity to shine, but his few phrases were delivered in a well-pitched, sonorous and powerful voice, with a recognizable distinctive character.”
    Francisco Jose Folchi, Opera Magazine, December 2016

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    08 Mar 16 TCHAIKOVSKY Iolanta
    Opera de Paris

    “The lower voices anchor the opera, Alexander Tsymbalyuk’s bass rich as lolanta’s father and Andrei Jihhovschi’s baritone dashing as the jaunty Robert.”
    Zachary Woolfe, New York Times, 14 March 2016

    “Son père le roi René (Alexander Tsymbalyuk), Vaudémont (Arnold Rutkowski), Robert (Andrei Jilihovski) sont parfaitement incarnés. Et même si le jour de la première, les voix n’étaient pas encore totalement libérées, la beauté de la langue russe est évidente à l’oreille.”
    Sophie Jouve, Culture Box, 14 March 2016

    ” Excellent Robert aussi du baryton moldave Andrei Jilihovschi…”
    Alain Duault, Online Opera, 13 March 2016

    “Son entrée avec Andrei Jilihovschi, chanteur du Bolshoi, apporte un vent de fraîcheur à l’ensemble. Ce dernier déploie fougueusement sa voix de baryton dans une intervention très applaudie.”
    Damien Dutilleul, Olyirx, 12 March 2016

    “…baritone Andrei Zhilikhovsky’s loutish Robert (Iolanta’s intended) was gloriously sung.”
    Mark Pullinger, Bach Track, 12 March 2016

    “La voz es atractiva, de barítono lírico, desenvuelto en escena y cantando de manera adecuada.”
    CríticaSin Comentarios, Beckmesser, 13 March 2016

    ‘…in der Auftrittsszene der beiden Ritter singt Andrei Jilihovschi ihn als Robert mit seiner Hymne an Mathilde regelrecht an die Wand.’

    Wiebke Roloff, Opernwelt, 2016



BIZET Les Pecheurs des Perles (Zurga)
DONIZETTI Don Pasquale (Malatesta)
DONIZETTI L’elisir d’amore (Belcore)
GOUNOD Faust (Valentin)
GOUNOD Romeo et Juliette (Mercutio)
MASSENET Cherubin (Count)
MASSENET Werther (Albert)
MOZART Le nozze di Figaro (Conte)
MOZART Così fan tutte (Guglielmo)
MUSSORGSKY Boris Godunov (Shelkalov)
PUCCINI La Bohème (Marcello)
ROSSINI Il Barbiere di Siviglia (Figaro)
ROSSINI Le Comte Ory
TCHAIKOVSKY Eugene Onegin (Onegin)
TCHAIKOVSKY Pique Dame (Yeletsky)
TCHAIKOVSKY Iolanta (Robert)


BRAHMS Requiem
FAURE Requiem
MAHLER Des Knaben Wunderhorn
MAHLER Lieder eines fahrenden Gesellen
MOZART Mass in C minor
POULENC Chansons Gaillardes
SCHUBERT Winterreise
SCHUMANN Dichterliebe


Read an interview with Operawire in a break from performances of Il barbiere di Siviglia at Glyndebourne Opera, June 2019

Read an interview conducted with Dmitry Kirsanov ahead of Andrey’s debut at the Washington National Opera in April 2018