Nikolay Didenko

Highlights this season and beyond include Sadko at the Bolshoi, and performances at the Beethoven Festival and with the Singapore Symphony Orchestra.

Nikolay features on the Grammy award-winning disc Penderecki Conducts Penderecki, for Best Choral Performance (2017).


Russian bass Nikolay Didenko graduated from the Moscow Academy of Choral Art in both singing and conducting. He was a soloist of the ‘New Opera’ in Moscow, and until 2005 was a member of the Houston Grand Opera Studio.

Following his training, Nikolay had many successes and sang roles including Frère Laurent Roméo et Juliette, Don Geronio Il Turco in Italia, Basilio Il Barbiere di Siviglia, Colline La bohème, Alidoro La Cenerentola and Oroveso Norma at houses including Houston Grand Opera, Opera de Paris, Royal Danish Opera, Cologne Opera, Washington Opera, New York City Opera, Bilbao Opera and Liceu Barcelona.



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    Medtner Songs

    Label: Delphian Records

    Release Date: 16 Feb 18

    Ekaterina Siurina

    Justina Gringyte

    Oleksiy Palchykov

    Robin Tritschler

    Rodion Pogossov

    Nikolay Didenko

    Iain Burnside

    Catalogue No: DCD34177


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    L’amore dei tre re

    Label: Italo Montemezzi

    Release Date: 02 Apr 13

    Archibaldo: N. Didenko
    Fiora: S. Jakubiak
    Avito: E. Barry
    Manfredo: D. Pershall
    Flaminio: J. Prego
    Handmaiden: J. Gontarz
    Young Woman: M. Dobrowolska
    Old Woman: A. Fijałkowska
    Youth: T. Warmijak
    Offstage Voice: P. Ronek

    Chór Filharmonii Narodowej
    Polska Orkiestra Radiowa
    Warsaw Philharmonic Concert Hall on 2 April 2013

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    Label: Brilliant Classics

    Release Date: 16 Jan 13

    Victor Popov
    Vladimir Ziva
    Dimitri Kortchak
    Nikolay Didenko
    Svetlana Sizova
    Tatiana Fedotova
    Elena Mitrakova

    Chorus of the Moscow Academy of Choral Art
    Moscow Symphony Orchestra

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    25 Oct 19 RIMSKY-KORSAKOV The Golden Cockerel
    Dallas Opera

    “Nikolay Didenko’s bass provided a perfectly rounded King Dodon. Delivering the role in a padded fat suit and red onesie, he was affectionately bumbling, yet sang with a clean and robust tone that belied his child-like nature.”

    Richard Sylvester Oliver, Texas Classical Review, 31 October 2019

    “King Dodon rises on an oversize throne, where he sprawls much of the time in red thermal underwear hardly concealed by a kingly robe. Later appearing for war in grand armored attire, Nikolay Didenko gives the king a petulant persona and an aptly granular bass.”

    Scott Cantrell, Dallas Morning News, 29 October 2019

    “As that hopelessly inept ruler, Nikolay Didenko is anything but inept at characterization. Right from the beginning, he establishes the Tsar as the most dangerous type of fool, one who thinks he is impossibly smart and naturally superior to everyone else. Vocally, he delivers a tour de force in this workout of a role that dominates all three acts of the opera. In many ways, this complex assignment is reminiscent of the equally demanding part of the Baron Ochs in Richard Strauss’ Der Rosenkavalier, another silly old man drooling over a young woman.

    Didenko’s bumbling antics are hilarious. He makes the most of his hugely oversized golden throne that his he mews around on for most of the first act. He can barely climb into it, let alone look even vaguely regal. Any vestige of dignity he may have ever possessed is surrendered as he prances around in the red union suit that he wears under his kingly robe.”

    Gregory Sullivan Isaacs, TheaterJones, 26 October 2019

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    30 Jun 18 SHOSTAKOVICH Suite on Verses of Michelangelo Buonarroti
    Texas Music Festival, Houston

    “Didenko sang with a fluency and mellowness that sometimes let the songs sound conversational–which made their messages all the more arresting when his voice finally welled up.

    In the first of three songs about love, “Morning”–about a sweetheart’s diaphanous dress–Didenko’s voice was as airy as the fabric he described. But his voice also could take on a somber gravity, even when it was quiet. And when it swelled, its fullness and vibrancy let the songs exude emotion and even anger without resorting to crudeness.

    The orchestra’s shadowy, sometimes shimmering tones complemented Didenko’s subtle strokes. And its fullness and impact enhanced the intensity of his singing.”

    Steven Brown, Texas Classical Review, 1 July 2018

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    16 Feb 18 MEDTNER Songs

    “L’accompagnement de Burnside est magistral. Les voix sont inégales, mais les contributions de Rodion Pogossov et de Nikolay Didenko sont bouleversantes.”

    Damien Colas, Classica Magazine, “Les Disques du Mois”, September 2018

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    24 Oct 17 TCHAIKOVSKY Eugene Onegin
    Frankfurt Opera

    “Among the other characters, bass Nikolay Didenko was outstanding in his Act three aria as Gremin in his Frankfurt debut.”
    Santosh Venkataraman, Opera Wire, 24 October 2017

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    30 Jan 14 SHOSTAKOVICH Symphony No. 14
    Temple Israel, Minneapolis

    “But the SPCO, conductor Hans Graf and a pair of outstanding singers also made a convincing case that this is music that should be experienced. And, ideally, performed as impeccably as it was on Thursday. Both soprano Dina Kuznetsova and bass Nikolai Didenko compellingly turned each poem into a deeply involving story, each dark night of the soul distinctly different from the last. With the SPCO strings and a battery of percussion eloquently underlining the gripping gravitas, it proved a performance that could cut to listeners’ hearts like an Arctic zephyr.”
    Rob Hubbard, 30 January 2014, Pioneer Press

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    15 Feb 13 BELLINI I Capuleti e i Montecchi
    Opera North

    “Nikolay Didenko, darkly commanding as Giulietta’s dad…”

    Lynne Walker, November 2008

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    01 Oct 05 ROSSINI The Barber of Seville
    New York City Opera

    “…The best voice of the evening belonged to the Don Basilio of debut basso Nikolai Didenko, who stole the show with his seemingly effortless, subterranean voice and highly developed sense of character, portraying the music teacher as the slimy creature that the composer intended but hardly ever receives..”
    The New York Sun, October 2005


BANEVICH The Story of Kai and Gerda (The Robber’s Chief Woman)
BELLINI I Capuleti e i Montecchi (Cappelio)
BELLINI Norma (Oroveso)
BELLINI La Sonnambula (Count Rodolfo)
BEETHOVEN Fidelio (Rocco)
BERLIOZ Benvenuto Cellini (Pope)
BERLIOZ Romeo et Juliet (Fre Laurent)
DONIZETTI Lucia di Lammermoor (Raimondo)
DVORAK Rusalka (Vodnik)
KORSAKOV Mozart and Salieri (Salieri)
MOZART La Clemenza di Tito (Publio)
MOZART Cosi fan tutte (Don Alfonso)
MOZART Die Zauberflöte (Sarastro)
MOZART Don Giovanni (Leporello)
MUSSORGSKY Boris Godunov (Pimen)
PROKOFIEV The Fiery Angel (Faustus)
PUCCINI La Bohème (Colline)
PUCCINI Tosca (Angelotti)
ROSSINI Il Barbiere di Siviglia (Basilio)
ROSSINI Il turco in Italia (Geronio)
ROSSINI La Cenerentola (Alidoro)
TCHAIKOVSKY Eugene Onegin (Gremin)
VERDI La Forza del Destino (Padre Guardiano)
VERDI Rigoletto (Sparafucile) + (Monterone)
VERDI Falstaff (Pistola)
VERDI Il Trovatore (Ferrando)
VERDI Aida (Ramfis)
VERDI Macbeth (Banquo)
VERDI Don Carlo (Filippo & Grand Inquisitore)
VERDI Simon Boccanegra (Fiesco)
WAGNER Rienzi (Paolo Orsini)


BEETHOVEN Symphony No. 9
BEETHOVEN Missa Solemnis
MAHLER Symphony No. 8
MOZART Requiem
PENDERECKI St Luke Passion
PENDERECKI Polish Requiem
RASKATOV Mysterium Magnum
ROSSINI Petite Messe Solennelle
SHOSTAKOVICH Symphonies No. 13 & No. 14
VERDI Requiem

Please contact Aifric Dennison for a full repertoire list.