Dmitry Ulyanov opera singer. Opera stars: Dmitry Ulyanov. Career in Russia

May 23 at the Moscow Academic Musical Theater named after. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko will host a solo evening by Dmitry Ulyanov.

The program, featuring the famous bass, includes fragments from the opera “Boris Godunov” by Modest Mussorgsky, the vocal-symphonic poem “The Execution of Stepan Razin” and the First Symphony of Dmitri Shostakovich.

On the eve of the concert, the singer met with Svetlana Naborshchikova.

For your solo evening you have chosen a serious program. Usually at such concerts they prefer to sing popular arias.

This was our idea with Felix Pavlovich Korobov ( chief conductor of MAMT. - "Izvestia"). We decided to give the program theatricality, seriousness and an educational message.

Of course, the simplest option is to make a medley, but it was more interesting to show the things that are important to us - Mussorgsky and Shostakovich, and Mussorgsky in Shostakovich's orchestration, to create a thematic evening: from Boris to Stepan Razin.

- Who is Boris for you? Hero, victim, villain?

Human. In any character, I am primarily interested in his human qualities. I always try to delve into psychology, ask questions: who was my hero, what did he do, why?

For me, “Boris Godunov” is the tragedy of a man invested with power, overwhelmed by passions. He walks on a fine line and at some point slips off it... Working on this is always a search within the hero. What kind of country would he like to see, what does he want, why is it not working out?

It is important to play not a portrait, not a statue. We must try to find the human facets of the hero, to show what was good in him. The bad will be clear from the context. Here is Stepan Razin. Who was he? For some he is a villain, for others he is a hero. People stood up and followed him, which means that he raised them up with something, attracted them with some idea. The boyars were hanged not because he wanted to hang them, but because he saw no other way out - he thought that this was the only way to change something...

- If the composer doesn’t give a character an excuse, will you still look for one?

Will. Of course, following the composer, he gives a characterization. But we always have the right to search. We can, even following a given track, find some unexpected edges.

You sing on the leading opera stages of the world, but nevertheless you return to your native harbor. What does belonging to the same theater give to an artist?

Maybe there is a feeling that you are expected here, that you will be welcome. Hard to tell. For me, our theater is a place where there is freedom, relaxation, an audience who always loves and waits for you. It is important to have a base where you can sing such a concert, try to express something of your own.

We are forced people, in the West we sign contracts. Sometimes there are things that you would not like to sing, but for some reason you agree. You understand that if the Paris Opera offers you a contract, there is no point in refusing, otherwise they won’t call you back. Our life is short, competition is high. Here, in the theater, you have the opportunity to sing what you want, feel calm, and work.

Sometimes the thought arises: “Maybe I should leave and become a freelancer?” But something is holding me back. Perhaps a feeling of a long journey, wonderful friends, partners. You go on stage and are glad that there are such colleagues, such a collective house, a theater house. No matter how much I travel, I always want to go home. Home is a place where you can breathe out and relax.

- Do you have the right to make mistakes in your own theater?

I don't have it anywhere. On the contrary, it becomes more difficult; every year more and more is expected of you. You have already jumped 6 m, like Bubka, and you have no right to lower the bar any lower. When you appear in your home theater once every six months, it attracts viewers, additional interest arises, and even more so you can’t make mistakes.

Most people are seeing you for the first time. There are regulars, but this is a fairly small percentage. But everyone knows that this is your home theater, your name becomes a guarantor of quality. You must provide this quality.

- Do the burden of responsibility and the creative race affect artistic well-being?

They don’t influence you in any way, you must always be ready to go on stage. Take a day or two to come to your senses a little, and then move on. I also have longer breaks where I can breathe out and learn something new. But I'm always ready to fight, I like it.

- Is there such a thing as a Russian vocal school, and how can it be characterized?

It seems to me that this is a kind of mixture of the Italian school and the Russian soul. I'm from Ekaterinburg. My teacher, may he rest in heaven, Valery Yuryevich Pisarev, was a student of an Italian. He taught, already adding purely Russian moments, but the base was still bel canto, the basis of Italian vocals.

The Russian school is a kind of compilation of the Italian base and Russian literature. You need to be able to sing in Russian. Few people here know how to do this; no matter how paradoxical it may sound, they do not pay attention to the word. They move on to correct vocalization, but sometimes the meaning is lost behind it. Not every singer can tell what he is singing.

It seems to me that the Russian vocal school should be based on good words, good presentation, good articulation. I always work to ensure that the presentation of the word is clear and does not turn into mush, especially if it is Mussorgsky and Shostakovich. The word, speech intonation, semantic text accents are very important there; they cannot be skipped.

Another problem with today's opera is the director. Your colleague Yusif Eyvazov told Izvestia that he does not approve of classical operas in the modern version, because the viewer goes to the classics, and not to the director’s delights.

Viewers are different everywhere. There are those who want beautiful costumes, give them the opera as written. There are modern youth who like all these new trends. As for me, I am open to experimentation. If the new version is justified, logical, interesting, if the story touches me and draws me in, if I work with the director in the same vein.

Alexander Titel and I have a long creative history, great friendship and mutual understanding. His style is always closer to the classical reading. At the same time, I collaborated a lot with Dmitry Chernyakov. The last work was in Amsterdam, “Prince Igor” by Borodin. His idea was for me to sing Galitsky and Konchak in one performance. I agreed with pleasure.

We worked well with Tima Kulyabin. He is a progressive young director with interesting ideas, in particular, in the same notorious “Tannhäuser”. I took part in this production. For me it was an absolutely clear story. All his predictions within her came true, he turned out to be such a perspicacious artist. The style of all directors is completely different, and this is wonderful, it only enriches.

It can be difficult when the director himself doesn’t know what he wants. Then it’s not very clear what to do. But even in such cases you try to offer something of your own. Maybe there are absolutely catastrophic productions, but I haven’t had the opportunity to participate in them yet. I don’t think I’ve ever gone out naked, and I won’t go out in any case.

- Are there directors with whom you would like to work, but have not yet been able to?

I would be interested in working with Tarkovsky, he once directed “Boris Godunov,” but this is no longer possible. Maybe it will be interesting with Konchalovsky. He should stage it with us. If Mikhalkov took up opera, I think it would also be interesting.

- What kind of opera do you imagine staged by Nikita Sergeevich?

I don’t know, but the fact itself would be interesting.

- You have a huge repertoire, in my opinion, you’ve covered them all. Is there anything left?

No, it’s not all over yet! You can say that I am just entering a certain layer of operas. The age has come when you can take on large parties. He sang Attila, but so far only in a concert version. Verdi's parts are gradually coming to the fore. There is a lot of unsung Wagner. An unplowed field, everything is just beginning.

Perhaps in the Russian repertoire more roles are sung than not. I sing Boris, Pimen, Khovansky, Dosifey, Dodon and so on. But there are still things that can and should be touched. For example, Melnik in “Rusalka”, or Kochubey in “Mazeppa”.

Usually the bass lines belong to heroes in power, authoritarian leaders. Does this leave an imprint on your character?

I don’t know, I need to ask my relatives if I’m there too much: “Cheers, child!” (laughs). I don't think so. In life I am a fairly easy-going, sociable person. Of course, you need to have leadership qualities to constantly play leaders, but I think I had them since I was young.

I was active, mobile, always working on ten parallel projects. I can’t say that I am powerful, although they say that many are afraid of me. Maybe in connection with my roles. Maybe I’m quite closed with people I don’t know very well, like the rest of us.

After a performance I am usually tired and exhausted, but before a performance I am always focused. Perhaps people perceive it as if I am strict and gloomy. In fact, this is specific. On the day of the performance, my loved ones already know that they don’t need to touch me - if I have Boris in the evening, I’ll be Boris in the morning. I put on the image like a suit, trying on what I’ll be like in the evening. This is my way of immersion. When I don’t have a performance, I’m a fairly cheerful, positive person.

You had great predecessors in the role of Boris. When creating an image, do you focus on previous achievements, or entirely on yourself?

It’s impossible not to get your bearings, these things are well known. But at the initial stage you need to be left alone with the composer, with the notes. This is my principle, fixed idea. It seems to me that if we first start listening, we involuntarily try to repeat something, automatically these hooks will start to work somewhere. It is important at the first stage to go from the original source, from the text, to find out for yourself what and how the composer wants to say, what and how I want to say.

While preparing “Boris Godunov,” I can watch films and performances. Ask yourself questions, read something. If I put on headphones and start listening, Pirogov, Khristov or Nesterenko will suggest some things and do all the work for you. It's history, class, skill, but I'm trying on my own first. Only at the last stage can I listen to something, and then very carefully so as not to confuse myself. When I learn a part, I sing it myself, I can check some things especially for myself and say: “This is great! I still have something to think about.”

But still, singing the performance is not the end, but the beginning of the process. When you eat for the first time, it's shock and awe. Everything is on nerves, on adrenaline. Attention is divided into the conductor's baton, the director's notes, and your own feelings. Then the performance train begins to run on its own rails, you gradually accelerate, get into the rut. Freedom appears, you begin to add colors, subtract, and invent something. This is a very live process. It is not for nothing that the first 10 performances are considered premieres - this is how they gradually take shape.

The time comes when opera artists, including the great ones, Galina Pavlovna Vishnevskaya, for example, want to go to another genre: drama theater, cinema. Have you ever had such a desire?

In principle, a possible option, why not? But opera is a more complex genre. It's easier for a dramatic artist. He has at his disposal such a concept as time, but we don’t have it - we are always under the count, under the control of the conductor and the guidance of the composer. In this regard, it is much more difficult and interesting for us. But if they offer me a role in theater or cinema, I won’t refuse, I think.

I remember my youth, when I was an ardent fan of the dramatic theater, I studied with teachers from the Sverdlovsk drama who came to our student theater. There I played both the main and all sorts of roles, we took part in local theater festivals, and took places at the regional gathering of theaters. 20 years of operatic activity, and if you remember what I did there, you can add another five years.

- In total, it turns out to be a quarter of a century of continuous creativity. What would you wish for yourself for the next 25 years?

In 1997 - soloist of the Yekaterinburg Opera and Ballet Theater.
In 1998-2000, he was a soloist at the Moscow Novaya Opera Theater, where he performed the roles of Loredano (The Two Foscari by G. Verdi), Varlaam (Boris Godunov by M. Mussorgsky) and Stromminger (Valli by A. Catalani). He toured with the theater throughout Russia and Europe.

Since 2000 - soloist of the Moscow Academic Musical Theater named after. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko, where he performed the following roles: Ivan Khovansky (Khovanshchina by M. Mussorgsky), Kutuzov (War and Peace by S. Prokofiev), Raimondo (Lucia di Lammermoor by G. Donizetti), Lindorff-Coppelius-Dapertutto Miracle (“The Tales of Hoffmann” by J. Offenbach), Father Superior (“Force of Destiny” by G. Verdi), Head (“May Night” by N. Rimsky-Korsakov), Don Basilio (“The Barber of Seville” by G. Rossini), Don Alfonso (“This is what all women do” by W.A. Mozart), Gremin (“Eugene Onegin” by P. Tchaikovsky), Rocco (“Fidelio” by L. van Beethoven), Collen (“La bohème” by G. Puccini), Gudal (“ The Demon by A. Rubinstein), Herman (Tannhäuser by R. Wagner), Ramfis (Aida by G. Verdi), the title role in Don Giovanni by V.A. Mozart.
He toured as part of a theater troupe in the USA, South Korea, Germany, Cyprus, Latvia, Estonia, as well as in many cities in Russia.

In 2008-09 he performed the role of Banquo (Macbeth by G. Verdi) in a joint production of the Novosibirsk State Opera and Ballet Theater and the Paris National Opera (conductor T. Currentzis, director D. Chernyakov).

In 2010, he performed the role of Cardinal De Brogny in F. Halévy’s opera “The Jewess” on the stage of the Israeli Opera, Tel Aviv (director D. Pountney, conductor D. Oren). Participated in productions of the Municipal Opera of Marseille, the Monte Carlo Opera, the National Rhine Opera (Strasbourg), the Capitol Theater (Toulouse), the Cagliari Theater (Italy).

After his debut in February 2011 at the Teatro Real in Madrid (Spain) as Marcel in a concert performance of J. Meyerbeer's opera Les Huguenots under the baton of Renato Palumbo, he began to work closely with the Teatro Real and other Spanish theaters such as the Teatro Maestranza in Seville (The Grand Inquisitor in G. Verdi's opera Don Carlos, Hunding in R. Wagner's Die Walküre), festival in A Coruña (Sparafuccile in Verdi's opera Rigoletto with Leo Nucci in the title role). In 2012, he performed on the stage of the Teatro Real the role of King René (Iolanta by P. Tchaikovsky) in a new production directed by P. Sellars and conducted by T. Currentzis. The performance was broadcast on the MEZZO TV channel and released on DVD. His repertoire at this theater includes the roles of Pimen in the play “Boris Godunov” by M. Mussorgsky (conductor Harmut Haenchen, director Johan Simons), Don Basilio in “The Barber of Seville” by G. Rossini, Banco in “Macbeth” by G. Verdi. In 2013, he made his debut on the stage of the Bilbao Opera in the role of Procida in the opera “The Sicilian Vespers” by G. Verdi. He also performed the role of Sparafuccile at the Teatro Maestranza in Seville (conducted by Pedro Halfter, with Leo Nucci in the title role).

He conducts active concert activities and collaborates with the State Academic Choir named after. A. Yurlov, State Academic Symphony Chapel under the direction of V. Polyansky. Collaborates with several Russian opera houses (St. Petersburg, Novosibirsk, Perm, Cheboksary).

In 2009 he made his debut in Bolshoi Theater as the Doctor (Wozzeck by A. Berg, director D. Chernyakov, conductor T. Currentzis). In 2014, he performed the roles of Escamillo (Carmen by G. Bizet) and Philip II (Don Carlos by G. Verdi). In 2016 - the part of Boris Timofeevich (Katerina Izmailova by D. Shostakovich), in 2017 - the title role in Boris Godunov by M. Mussorgsky.

In the 2014-15 season, he performed the role of Escamillo in Carmen by J. Bizet (New National Theater in Tokyo), Don Basilio in The Barber of Seville (Liceu Theater in Barcelona), De Brony in The Jewess by F. Halévy (Flemish opera in Antwerp), Dositheus in “Khovanshchina” by M. Mussorgsky (Basel Opera).

In 2015, he performed for the first time at the festival in Aix-en-Provence as King René in Iolanta by P. Tchaikovsky (conductor Teodor Currentzis, director Peter Sellars). Sang the role of the General (The Gambler by S. Prokofiev) at the Monte Carlo Opera (conductor Mikhail Tatarnikov, director Jean-Louis Grinda).

In the 2016/17 season, he performed the roles of Daland (The Flying Dutchman by R. Wagner) at the Flemish Opera, Konchak and Vladimir Galitsky in the production of Prince Igor by the Dutch National Opera (conductor Stanislav Kochanovsky, director Dmitry Chernyakov), Tsar Dodon (The Golden Cockerel ") at the Teatro Real in Madrid (conductor Ivor Bolton, director Laurent Pelly).

In the 2017/18 season, he made his debut at the Salzburg Festival as Boris Timofeevich (Lady Macbeth of Mtsensk by D. Shostakovich) and at the Vienna State Opera as the General (The Gambler by S. Prokofiev). As part of the IV Music Festival "Opera Live", he sang the title role in the opera "Attila" by G. Verdi for the first time (concert performance). He sang the same role on the stage of the Auditorium concert hall in Lyon as part of the Verdi Festival. In April 2018, he made his debut on the stage of the Neapolitan San Carlo Theater, performing the role of Boris Timofeevich in the opera Lady Macbeth of Mtsensk.

In 2018 on the stage of the Musical Theater named after. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko held a solo concert to mark the 20th anniversary of his artistic activity.

Dmitry Ulyanov He graduated from the Ural Conservatory with Professor V. Yu. Pisarev and in the same year received the Grand Prix at the I International Vocal Competition under the auspices of UNESCO in Kazakhstan (2000).

Dmitry Ulyanov He graduated from the Ural Conservatory with Professor V. Yu. Pisarev and in the same year received the Grand Prix at the I International Vocal Competition under the auspices of UNESCO in Kazakhstan (2000).

In 1997, he became a soloist at the Yekaterinburg Opera and Ballet Theater, and a year later at the Moscow Novaya Opera Theater named after E.V. Kolobov. Since 2000, he has been a soloist at the Moscow Academic Musical Theater named after K. S. Stanislavsky and V. I. Nemirovich-Danchenko, on the stage of which he performs leading roles: Don Juan in the opera of the same name, Don Basilio in The Barber of Seville, Ramfis in Aida , Collen in “La Bohème”, Herman in “Tannhäuser”, Gremin in “Eugene Onegin”, Gudal in “The Demon”, Head in “May Night”, Ivan Khovansky in “Khovanshchina”, Kutuzov in “War and Peace” and other roles . As part of the theater troupe, he toured in many cities of Russia, as well as in Germany, Italy, Latvia, Estonia, China, South Korea, the USA, and Cyprus.

Since 2009, Dmitry Ulyanov has been a guest soloist at the Bolshoi Theater, where he made his debut as the Doctor in the opera Wozzeck (director D. Chernyakov, conductor T. Currentzis). In 2014, he performed the roles of Escamillo in Carmen and Philip II in Don Carlos, and in 2016, Boris Timofeevich in Katerina Izmailova. The artist also collaborates with theaters in St. Petersburg, Novosibirsk, Perm, and Cheboksary.

The singer's international career is actively developing: Opera Bastille, National Rhine Opera, Capitol Theater of Toulouse, Flemish Opera, National Opera of the Netherlands, Teatro Real in Madrid and Maestransa in Seville, Grand Theater Liceu in Barcelona, ​​Israeli Opera, New National Theater of Tokyo, opera theaters of Lyon, Basel, Monte Carlo, Bilbao, Cagliari, Marseille - the list of leading opera houses is growing every year. He performs at festivals in La Coruña and Aix-en-Provence; collaborates with conductors Ivor Bolton, Martin Brabbins, Juraj Walczucha, Laurent Campellone, Kirill Karabits, Stanislav Kochanovsky, Cornelius Meister, Tomas Netopil, Daniel Oren, Renato Palumbo, Ainars Rubikis, Giacomo Sagripanti, Mikhail Tatarnikov, Giuseppe Finzi, Pedro Halfter, Tomas Hanus , Simona Young, Maris Jansons; with directors Vasily Barkhatov, Jean-Louis Grinda, Caroline Grubber, José Antonio Gutierrez, Tatiana Gyurbacha, Peter Konvichny, Andreas Kriegenburg, Eridan Noble, David Pountney, Laurent Peli, Emilio Sagi, Peter Sellars.

The artist's repertoire includes the main roles in Verdi's operas (Macbeth, Don Carlos, Rigoletto, Sicilian Vespers); Wagner (“Walkyrie”, “Tannhäuser”, “The Flying Dutchman”); in French “grand operas” (“The Jew” by Halévy, “The Huguenots” by Meyerbeer), in operas by Russian composers (“Boris Godunov”, “Iolanta”, “The Golden Cockerel”, “The Gambler”).

Dmitry Ulyanov actively gives concerts and collaborates with State Capellas - the choir named after A. Yurlov and the symphony under the direction of V. Polyansky.

In the 2017/18 season, the singer made his debut as Boris Godunov at the Bolshoi; performed Attila for the first time - at the Opera Live festival in the Tchaikovsky Hall in Moscow and the Verdi festival in the Concert Hall of Lyon. Debuts also took place at the Salzburg Festival, on the stages of the Neapolitan San Carlo Theater and the Vienna Opera.

In 2018/19, D. Ulyanov performs in new productions of the operas “Lady Macbeth of Mtsensk” at the Paris National Opera and Opera Bastille (conductor – Ingo Metzmacher, director – Krzysztof Warlikowski), “The Barber of Seville” at the Bolshoi Theater (conductor – Pier Giorgio Morandi, director - Evgeny Pisarev); On the stage of the Amsterdam Concergebouw he performs Mussorgsky's Songs and Dances of Death, and at the National Center for the Performing Arts in Beijing he sings in the opera The Tales of Hoffmann.

The artist was twice nominated for the Golden Mask Award in the category “Best Actor in Opera”. In 2016 he was awarded the Russian opera award “Casta Diva” for his performance of the role of Ivan Khovansky.

) - Russian opera singer, bass, soloist. Honored Artist of the Russian Federation () .

In 1997, having completed his first year at the conservatory, he was heard by the chief conductor Ekaterinburg Opera and Ballet Theater Brazhnik E.V. and was invited to join the theater troupe, on whose stage Dmitry made his debut in his first role on the opera stage - as Angelotti ( G. Puccini "Yearning") December 6, 1997. However, already in 1998 he became a soloist of the theater New Opera(Moscow) at the invitation of the theater’s chief conductor Kolobova E. V., where he sang many roles, including Loredano ( G. Verdi "Two Foscari"), Varlaam ( M. Mussorgsky "Boris Godunov") and others. He toured as part of a theater troupe in many cities in Russia and Europe.

In August 2000 he joined the troupe, and soon became one of the theater's leading soloists. Among the main roles he performed are Hermann (Tannhäuser by R. Wagner), Kutuzov (War and Peace by S.S. Prokofiev), Don Juan (Don Juan by W.A. Mozart), Lindorff-Coppelius-Dapertutto -Miracle (“The Tales of Hoffmann” by J. Offenbach), Head (“May Night” by N.A. Rimsky-Korsakov), Don Basilio (“The Barber of Seville” by G. Rossini), Don Alfonso (“This is what all women do” by V. A. Mozart), Gremin (“Eugene Onegin” by P.I. Tchaikovsky), Ramfis (“Aida” by G. Verdi), Collen (“La Boheme” by G. Puccini), Prince Ivan Khovansky (“Khovanshchina” by M.P. Mussorgsky ).

He toured as part of a theater troupe in Italy (Gremin - “Eugene Onegin” by P. Tchaikovsky, Trieste, 2009), Germany (Don Alfonso - “Cosi Fan Tutte” by W. Mozart, 2006), in Latvia, Estonia, Cyprus, in the USA (“La Boheme” by G. Puccini, 2002; “Tosca” by G. Puccini, “La Traviata” by G. Verdi, 2004), in South Korea (2003), in many cities of Russia ( Saint Petersburg , Ekaterinburg , Samara , Saratov , Kirov , Rostov-on-Don , Cheboksary and etc.).

In February 2010, he sang the role of Don Marco in G. C. Menotti’s opera “The Saint of Bleecker Street” (director - Jonathan Webb, director - Stefan Medcalf), in December 2008 - the role of the Tsar (Aida) , and in December 2007, the role of Don Basilio (“The Barber of Seville”) on the stage of the Municipal Opera in Marseille, France.

In the 2008-2009 season he made his debut as Tomsky on stage Operas of Monte Carlo(director - D. Yurovsky), and also took part in a joint project of the Novosibirsk Opera House and Opera Bastille, Paris- a grandiose production of G. Verdi’s opera “Macbeth”, where he performed the role of Banquo at the premiere in Novosibirsk and later at the Opera Bastille (Paris). Stage director - Dmitry Chernyakov, stage director - Teodor Currentzis.

In July 2010, he took part in the International Festival of Forbidden Music on the stage of the Municipal Opera of Marseille, where he performed the title role in a concert performance of the opera “Shylock” by A. Finzi.

In April 2010, Dmitry Ulyanov performed the role of Cardinal De Brogna in F. Halevi's opera “The Jewess” on the stage of the Israeli Opera, Tel Aviv (director – David Pountney, conductor – Daniel Oren). Participated in productions of the Municipal Opera of Marseille, the Opera of Monte Carlo, the National Rhine Opera (Strasbourg), the Théâtre du Capitole (Toulouse) - all France, as well as the Teatro Cagliari (Italy). After his debut in February 2011 on the stage of the Royal Opera of Madrid (Spain) in the role of Marcel in the concert production of J. Meyerbeer's opera Les Huguenots under the direction of Renato Palumbo, Dmitry Ulyanov began to work closely with the Teatro Real and other Spanish theaters, such as the Teatro Maestranza in Seville (The Grand Inquisitor in G. Verdi's opera "Don Carlos", Hunding in R. Wagner's "Die Walküre"), festival in La Coruña (Sparafucile in Verdi's opera "Rigoletto" with Leo Nucci in the title role). In January 2012, Dmitry Ulyanov performed the role of King René on the stage of the Teatro Real ( “Iolanta” P.I. Tchaikovsky) in a new production by the director Peter Sellars and conductor Teodor Currentzis. The performance was broadcast on the MEZZO TV channel and released on DVD. Also on the stage of the Teatro Real he performed the roles of Pimen (Boris Godunov by M. Mussorgsky) and Banquo (Macbeth by G. Verdi). In 2013, the singer made his debut on the stage of the Bilbao Opera in the role of Procida in Verdi’s opera “Sicilian Vespers”. He also performed the role of Sparafucile at the Teatro de la Maestranza in Seville (conducted by Pedro Halfter, in the title role by Leo Nucci).

In the 2013/14 season. continued to actively collaborate with Spanish theaters. On the stage of the Teatro Real he performed the role of Basilio in “The Barber of Seville” by G. Rossini (conductor – Tomasz Hanus, director – Emilio Sagi) and took part in the performance of “Stabat Mater” by G. Rossini. Performed the role of Ramfis in G. Verdi's Aida (Teatro de la Maestranza, Seville, conductor Pedro Halfter, director José Antonio Gutiérrez). At the New National Theater of Tokyo (dir. Ainars Rubikis) and the Bolshoi Theater of Russia (dir. Laurent Campellone, director David Pountney) he performed the role of Escamillo (J. Bizet's Carmen).

In the 2014/15 season. made his debut at the famous Barcelona Opera House Liceu, performing the role of Don Basilio in The Barber of Seville by Gioachino Rossini (conductor Giuseppe Finzi, director Juan Font), and also performed the role of Philip II in the play Don Carlos at the Bolshoi Theater of Russia (conductor Giacomo Sagripanti, directed by Adrian Noble). On tour of the Moscow Academic Musical Theater in Tianjin (China) he sang the role of Kutuzov in the opera by S.S. Prokofiev's "War and Peace" (conductor - Felix Korobov, director - Alexander Titel). He also performed the roles of Landgrave in Tannhäuser by R. Wagner (Novosibirsk State Academic Opera and Ballet Theater, director Ainars Rubikis), de Bronyi in The Judeasses by F. Halévy (Flemish Opera, Antwerp, Ghent, Belgium, conductors - Tomas Netopil, Yiannis Pouspourikas, director – Peter Konwitschny), King René in “Iolanta” by P.I. Tchaikovsky (Aix-en-Provence Festival, conductor – Teodor Currentzis, director – Peter Sellars).

In the 2015/16 season. performed Dositheus at the Basel Opera House (conductor Kirill Karabits, director Vasily Barkhatov), ​​Don Basilio at the Teatro de la Maestranza in Seville (conductor Giuseppe Finzi, director Jose Luis Castro), King René in Iolanta by P.I. Tchaikovsky (Opera Theater of Lyon, conductor – Martin Brabbins, director – Peter Sellars), The General in “The Player” by S. Prokofiev (Monte Carlo Opera, conductor – Mikhail Tatarnikov, director – Jean-Louis Grinda). In the 2016/17 season. performed the roles of Daland in “The Flying Dutchman” (Flemish Opera, conductor – Cornelius Meister, director – Tatiana Gyurbacha), Khan Konchak and Vladimir Galitsky in “Prince Igor” (National Opera of the Netherlands, conductor – Stanislav Kochanovsky, director – Dmitry Chernyakov), Tsar Dodona in The Golden Cockerel (Teatro Real Madrid, conductor - Ivor Bolton, director - Laurent Pelly).

In the 2017/18 season. debuted at the Salzburg Festival as Boris Timofeevich (Lady Macbeth of Mtsensk by D. D. Shostakovich, conductor Maris Jansons, director Andreas Kriegenburg) and at the Vienna State Opera as the General (The Gambler by S. S. Prokofiev, conductor – Simone Young, director – Caroline Gruber). In September 2017, he made his long-awaited debut in the role of Tsar Boris in the opera by M.P. Mussorgsky "Boris Godunov" on the Historical Stage of the Bolshoi Theater. Also on the stage of the Bolshoi Theater in the 2017/2018 season he performed the roles of Boris Timofeevich (Katerina Izmailova by D. D. Shostakovich, conductor - Tugan Sokhiev) and Philip II (Don Carlos by G. Verdi, conductor - Keri-Lynn Wilson). As part of the IV Music Festival of Vasily Ladyuk “Opera Live”, for the first time in his career he performed the main role of Attila, in a concert performance of G. Verdi’s opera “Attila”. In February 2018, he sang the same role on the stage of the Auditorium de Lyon concert hall (Lyon, France) as part of the Verdi Festival. In April 2018, he sang the role of Boris Izmailov in the opera “Lady Macbeth of Mtsensk”, successfully debuting on the stage of the Naples Theater San Carlo (director - Martin Kuschei, conductor - Juraj Valchuya), performed the role of the General on the stage of the Opera House Basel in the new production of S. Prokofiev’s opera “The Gambler” by director Vasily Barkhatov.