“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