Dmitry ulyanov is an opera singer. Opera stars: Dmitry Ulyanov. Career in Russia

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

The program with the participation of the famous bass includes excerpts from the opera "Boris Godunov" by Modest Mussorgsky, the vocal-symphonic poem "The Execution of Stepan Razin" and the First Symphony by Dmitry Shostakovich.

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

You have chosen a serious program for your solo evening. 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 a theatricality, seriousness and educational message.

Of course, the easiest option is to make a medley, but it was more interesting to show the things that are important to us - Musorgsky and Shostakovich, moreover Musorgsky orchestrated by Shostakovich, to create a thematic evening: from Boris to Stepan Razin.

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

Person. 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 he did, why?

For me, "Boris Godunov" is the tragedy of a man in power, overwhelmed by passions. He walks along a fine line and at some point slides off it ... Working on this way is always a search within the hero. What kind of country would he like to see, what does he want, why does he not succeed?

It is not a portrait or a statue that is important to play. We must try to find the human facets of the hero, to show what was good about him. Bad and so it will be clear from the context. Here is Stepan Razin. Who was he? For someone - a villain, for someone - a hero. People got up, followed him, which means that he raised them with something, attracted them with some idea. The boyars were hanged not because he wanted to hang them, but because he did not see any other way out - he thought that this was the only way to change something ...

- If the composer doesn't give the character an excuse, will you still look for him?

I 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 facets.

You sing at the world's leading opera houses, but still return to your hometown. What does an artist gain from belonging to the same theater?

Maybe the feeling that they are waiting for you here, they will be glad to see you. It is hard to say. For me, our theater is a place where there is freedom, relaxation, a spectator 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 offered you a contract, it makes no sense to refuse, then they will not be called. Our century is short, the competition is high. Here, in the theater, you have the opportunity to sing whatever you want, to feel calm, to work.

Sometimes the thought arises: "Maybe leave, become a freelancer?" But something keeps me going. Perhaps the feeling of a long road traveled, wonderful friends, partners. You go on stage and rejoice that there are such colleagues, such a collective-home, theater-home. No matter how much I travel, I always want to go home. Home is a place where you can breathe out, relax.

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

I have nowhere. On the contrary, it becomes more difficult, every year they expect more from you. You have already jumped 6 m, like Bubka, and you have no right to lower the bar below. When you appear in your native theater once every six months, it attracts the audience, additional interest arises, and all the more, one cannot be mistaken.

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

- Does the burden of responsibility, the creative race affect your artistic well-being?

They do not influence in any way, must always be ready to go on stage. A day or two to recover a little, and go ahead. I also have longer breaks where I can breathe out, learn something new. But I am 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, the kingdom of heaven to him, Valery Yurievich Pisarev, was a student of an Italian. He taught, already incorporating 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. We have few people who know how to do this, paradoxical as it may sound, do not pay attention to the word. They move on to the 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 a good word, good presentation, good articulation. I always work to ensure that the presentation of the word is clear, does not turn into a mess, especially if it is Musorgsky 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 modern classical operas, because the audience goes to the classics, and not to the director's delights.

The audience is different everywhere. There are those who want beautiful costumes, give them the opera as it is written. There are modern young people who like all these new trends. As for me, I am open to experiment. In the event that the new version is justified, logical, interesting, if the story touches and draws me in, if I work with the director in the same vein.

With Alexander Titel we have a long creative history, great friendship and mutual understanding. His style is always closer to the classic 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 notorious Tannhäuser. I took part in this production. It was an absolutely clear story for me. All his predictions inside her came true, so he turned out to be 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 does not know what he wants. Then it is not very clear what to do. But even in such cases, you try to offer something of your own. Maybe there are absolutely catastrophic performances, but I haven’t had the opportunity to participate in them yet. I didn't seem to go out naked, and I won't go out anyway.

- Are there any directors with whom you would like to work, but are not working yet?

It would be interesting for me to work with Tarkovsky, he staged Boris Godunov at one time, but this is no longer possible. Maybe it will be interesting with Konchalovsky. He should play with us. If Mikhalkov took up the opera, too, I think it would be interesting.

- How do you imagine the opera staged by Nikita Sergeevich?

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

- You have a huge repertoire, in my opinion, everyone has sung. Is there something left?

No, not everything, where is there! We can say that I only go out to some kind of operatic layer. The age has come when you can take on large parties. Attila sang, but so far only in a concert version. Verdi's parties are gradually coming to the fore. Wagner is very much unsung. An unplowed field, everything is just beginning.

Perhaps in the Russian repertoire there are more roles sung than not sung. I sing Boris, Pimen, Khovansky, Dosifei, Dodon and so on. But there are still things to touch. For example, Melnik in Rusalka, or Kochubey in Mazepa.

Usually bass lines are played by powerful heroes, authoritarian leaders. Does this leave an imprint on your character?

I don’t know, I have to ask my relatives if I’m strong there: “Chur, child!” (laughs)... It seems to me not. I am a fairly easy person in life, sociable. Of course, you need to have leadership qualities in order to constantly play leaders, but it seems to me that I had them since my youth.

I was active, mobile, always engaged in ten parallel projects. I cannot say that I am domineering, although, they say, many are afraid of me. Maybe in connection with my roles. Maybe I am rather closed with not very familiar people, like all of us.

After the performance I am usually tired, devastated, before the performance I am always focused. Perhaps people perceive this as if I am strict and gloomy. In fact, this is specificity. On the day of the performance, my loved ones already know that there is no need to touch me - if I have Boris in the evening, I’m Boris in the morning. I put on the image as a suit, try on what I will be in the evening. This is my way of diving. When I don't have a play, I am a rather cheerful, positive person.

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

It is impossible not to navigate, these things are by ear. But at the initial stage, you need to be alone with the composer, with the sheet music. This is my principle, the idea is fixed. It seems to me that if we first start listening, we will involuntarily try to repeat something, automatically these hooks will start working 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, Hristov or Nesterenko will prompt some things, do all the work for you. It's history, class, skill, but I try myself first. Only at the last stage can I listen to something and then very carefully so as not to confuse myself. When I’m learning a part, I’m already singing, I can check some things especially for myself and say: “This is great! Here I still have something to think about. "

But all the same, singing the play is not the end, but the beginning of the process. When you sing for the first time, it is shock and awe. Everything is on the nerve, on adrenaline. Attention is stratified on the conductor's wand, on the director's notes, on one's own feelings. Then the performance train begins to follow its own tracks, you gradually accelerate, get into a rut. Freedom appears, you start adding colors, subtracting them, inventing something. This is a very lively process. It is not for nothing that the first 10 performances are considered premieres, as they gradually take shape.

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

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

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

- In total, it turns out 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 of the Moscow Novaya Opera Theater, where he performed the roles of Loredano (Two Foscari by G. Verdi), Varlaam (Boris Godunov by M. Mussorgsky) and Stromminger (The Valley by A. Catalani). Has toured with the theater in Russia and Europe.

Since 2000 - soloist of the Moscow Academic Musical Theater. K.S. Stanislavsky and V.I. Nemirovich-Danchenko, where he performed the following parts: Ivan Khovansky ("Khovanshchina" by M. Mussorgsky), Kutuzov ("War and Peace" by S. Prokofiev), Raymond ("Lucia di Lammermoor" by G. Donizetti), Lindorf-Coppelius-Dapertutto- Miracle ("The Tales of Hoffmann" by J. Offenbach), Father Superior ("The Force of Destiny" by G. Verdi), Head ("May Night" by N. Rimsky-Korsakov), Don Basilio ("The Barber of Seville" by G. Rossini), Don Alfonso ("All Women Do This" by W. A. ​​Mozart), Gremin ("Eugene Onegin" by P. Tchaikovsky), Rocco ("Fidelio" by L. van Beethoven), Collen ("La Boheme" by G. Puccini), Gudal (" The Demon "by A. Rubinstein), Herman (" Tannhäuser "by R. Wagner), Ramfis (" Aida "by G. Verdi), the title role in" Don Juan "by V.A. Mozart.
Has toured with the theater troupe in the USA, South Korea, Germany, Cyprus, Latvia, Estonia, as well as in many cities of Russia.

In 2008-09 he sang the part 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 sang the role of Cardinal De Brony in F. Halevy's “Jewess” at the Israeli Opera, Tel Aviv (director D. Pountney, conductor D. Oren). Participated in productions of the Municipal Opera of Marseille, Opera Monte Carlo, National Rhine Opera (Strasbourg), Theater Capitol (Toulouse), Theater Cagliari (Italy).

After his debut in February 2011 at the Teatro Real in Madrid (Spain) as Marseille in a concert performance of J. Meyerbeer's opera The Huguenots under the baton of Renato Palumbo, he began to work closely with Teatro Real and other Spanish theaters such as Teatro Maestranza in Seville (Grand Inquisitor in the opera Don Carlos by G. Verdi, Hunding in the Valkyrie by R. Wagner), the festival in La Coruña (Sparafuccil in Verdi's opera Rigoletto with Leo Nucci in the title role). In 2012, on the stage of the Teatro Real, he played the role of King Rene (Iolanta by P. Tchaikovsky) in a new production by director P. Sellars and conductor T. Currentzis. The play was broadcast on the MEZZO TV channel and released on DVD. His repertoire at this theater includes the roles of Pimen in Boris Godunov by M. Musorgsky (conductor Harmut Henchen, 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 at the Opera Bilbao as Procida in the opera Sicilian Vespers by G. Verdi. He also sang the part of Sparafuccile at the Teatro Maestranza in Seville (conductor Pedro Halfter, Leo Nucci in the title role).

Conducts an active concert activity, collaborates with the State Academic Choir named after A. Yurlov, State Academic Symphony Capella under the direction of V. Polyansky. Collaborates with several Russian opera houses (St. Petersburg, Novosibirsk, Perm, Cheboksary).

In 2009 he made his debut in The Bolshoi Theater as Doctor (Wozzeck by A. Berg, director D. Chernyakov, conductor T. Currentzis). In 2014 he sang 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 sang the role of Escamillo in Carmen by J. Bizet (New National Theater in Tokyo), Don Basilio in The Barber of Seville (Teatro Liceo in Barcelona), De Brony in Judeica by F. Halevy (Flemish opera in Antwerp), Dositheus in "Khovanshchina" by M. Mussorgsky (Basel Opera).

In 2015, he performed for the first time at the Aix-en-Provence festival as King Rene in Tchaikovsky's Iolanta (conductor Theodore Currentzis, director Peter Sellars). He sang the part 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 danced 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 National Opera of the Netherlands (conductor Stanislav Kochanovsky, director Dmitry Chernyakov), Tsar Dodon (The Golden Cockerel ») At the Teatro Real 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 the Mtsensk District by D. Shostakovich) and at the Vienna State Opera as General (The Gambler by S. Prokofiev). Within the framework of the IV Music Festival "Opera Live" he sang for the first time the title role in the opera "Attila" by G. Verdi (concert performance). He sang the same part on the stage of the Auditorium Concert Hall in Lyon as part of the Verdi Festival. In April 2018 he made his debut at the Teatro San Carlo in Naples, performing the role of Boris Timofeevich in the opera Lady Macbeth of the Mtsensk District.

In 2018, on the stage of the Musical Theater. K.S. Stanislavsky and V.I. Nemirovich-Danchenko, a solo concert dedicated to the 20th anniversary of artistic activity took place.

Dmitry Ulyanov Graduated from the Ural Conservatory under 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 Graduated from the Ural Conservatory under 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 with the Yekaterinburg Opera and Ballet Theater, a year later - with the Kolobov Novaya Opera Theater in Moscow. Since 2000 - soloist of the Moscow Academic Musical Theater named after K. Stanislavsky and V. I. Nemirovich-Danchenko, on the stage of which he performs the leading roles: Don Juan in the opera of the same name, Don Basilio in The Barber of Seville, Ramfis in Aida , Collen in Bohemia, 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 troupe of the theater he has 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 of the Bolshoi Theater, where he made his debut as Doctor in the opera Wozzeck (director D. Chernyakov, conductor T. Currentzis). In 2014 he sang here the roles of Escamillo in Carmen and Philip II in Don Carlos, in 2016 - Boris Timofeevich in Katerina Izmailova. The artist also collaborates with theaters in St. Petersburg, Novosibirsk, Perm, Cheboksary.

The international singer's career is actively developing: Opera Bastille, National Rhine Opera, Capitol Theater of Toulouse, Flemish Opera, National Opera of the Netherlands, Theater Royal in Madrid and Maestranza in Seville, Teatro Liceo in Barcelona, ​​Israeli Opera, New National Theater of Tokyo, opera theaters in Lyon, Basel, Monte Carlo, Bilbao, Cagliari, Marseille - the list of leading opera houses grows every year. He performs at festivals in A Coruña and Aix-en-Provence; collaborates with conductors Ivor Bolton, Martin Brabbins, Yurai Valchukha, Laurent Campellone, Kirill Karabits, Stanislav Kochanovsky, Cornelius Meister, Tomas Netopil, Daniel Oren, Renato Palumbo, Ainarsi Rubas Czikis , Simone Young, Maris Jansons; with directors Vasily Barkhatov, Jean-Louis Grinda, Carolina Grubber, Jose Antonio Gutierrez, Tatiana Gyurbacha, Peter Konvichny, Andreas Krigenburg, Eridan Noble, David Pountney, Laurent Peli, Emilio Saghi, Peter Sellars.

The artist's repertoire includes the main roles in Verdi's operas (Macbeth, Don Carlos, Rigoletto, Sicilian Vespers); Wagner (Valkyrie, Tannhäuser, The Flying Dutchman); in French "big operas" ("Jewess" by Halevy, "Huguenots" by Meyerbeer), in operas by Russian composers ("Boris Godunov", "Iolanta", "The Golden Cockerel", "The Gambler").

Dmitry Ulyanov actively gives concerts, collaborates with the State Capellas - the choral named after A. Yurlov and the symphonic one under the direction of V. Polyansky.

In the 2017/18 season, the singer made his debut as Boris Godunov at the Bolshoi; first performed Attila at the Opera Live festivals at the Tchaikovsky Hall in Moscow and Verdi at the Lyon Concert Hall. They also made their debuts at the Salzburg Festival, on the stages of the Neapolitan San Carlo Theater and the Vienna Opera.

In 2018/19 D. Ulyanov appears in new productions of the operas "Lady Macbeth of the Mtsensk District" at the Paris National Opera and Opera Bastius (conductor - Ingo Metzmacher, director - Krzysztof Warlikovsky), "The Barber of Seville" at the State Academic Bolshoi Theater (conductor - Pier Giorgio Morandi, director - Evgeny Pisarev); he sings Mussorgsky's Songs and Dances of Death at the Consergebouw in Amsterdam, and sings in the opera Hoffmann's Tales at the National Center for the Performing Arts in Beijing.

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

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

In 1997, after completing his first year at the Conservatory, he was heard by the chief conductor Yekaterinburg Opera and Ballet Theater Brazhnikom E.V. and was invited to the troupe of the theater, on the stage of which Dmitry made his debut in his first role on the opera stage - in the role of 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 chief conductor of the theater Kolobova E.V., where he sang many parts, including Loredano ( J. Verdi "Two Foscari"), Varlaam ( M. Mussorgsky "Boris Godunov") other. He toured with the theater troupe in many cities of Russia and in Europe.

In August 2000 he joined the troupe, and soon became one of the leading soloists of the theater. Among the main parts he performed are Herman ("Tannhäuser" by R. Wagner), Kutuzov ("War and Peace" by S. Prokofiev), Don Juan ("Don Juan" by W.A. Mozart), Lindorf-Coppelius-Dapertutto -Mirakle ("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 ("All women do this" by V. A. Mozart), Gremin ("Eugene Onegin" by P. Tchaikovsky), Ramfis ("Aida" by G. Verdi), Collen ("La Boheme" by G. Puccini), Prince Ivan Khovansky ("Khovanshchina" by M. P. Mussorgsky ).

Has toured with the theater troupe in Italy (Gremin - "Eugene Onegin" by P. Tchaikovsky, Trieste, 2009), Germany (Don Alfonso - "Cosi Fan Tutte" by V. Mozart, 2006), in Latvia, Estonia, Cyprus, 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 , Yekaterinburg , Samara , Saratov , Kirov , Rostov-on-Don , Cheboksary and etc.).

In February 2010 he sang the part of Don Marco in the opera Saint of Bleecker Street by J.C. Menotti (director - Jonathan Webb, dir. - Stephen Medcalf), in December 2008 - the part of Tsar (Aida) and in December 2007 the part 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 Opera 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 Verdi's opera Macbeth, where he performed the part of Banquo at the premiere in Novosibirsk and later at the Opera Bastille (Paris). Stage Director - Dmitry Chernyakov, production conductor - Theodore Currentzis.

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

In April 2010, Dmitry Ulyanov sang the role of Cardinal De Brony in F. Halevy's opera “Judea” at the Israeli Opera, Tel Aviv (director - David Pountney, conductor - Daniel Oren). Took part in productions of the Municipal Opera of Marseille, the Opera de Monte-Carlo, the National Rhine Opera (Strasbourg), the Capitol Theater (Toulouse) - all of France, as well as the Teatro Cagliari (Italy). After his debut in February 2011 at the Royal Opera de Madrid (Spain) as Marseille in a concert production of J. Meyerbeer's opera The Huguenots under the direction of Renato Palumbo, Dmitry Ulyanov began to work closely with Teatro Real and other Spanish theaters such as the Teatro Maestranza in Seville (The Grand Inquisitor in the opera Don Carlos by G. Verdi, Hunding in the Valkyrie by R. Wagner), Festival in La Coruña (Sparafucile in Verdi's opera Rigoletto with Leo Nucci in the title part). In January 2012, Dmitry Ulyanov performed the role of King Rene ( "Iolanta" by P.I. Tchaikovsky) in the new production of the director Peter Sellars and conductor Theodore Currentzis... The play 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 Banco (Macbeth by G. Verdi). In 2013, the singer made his debut at the Opera Bilbao as Procida in Verdi's opera Sicilian Vespers. He also sang the part of Sparafucil at the Teatro de la Maestranza in Seville (conductor Pedro Halfter and Leo Nucci in the title role).

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

In the 2014/15 season. made his debut at the renowned Barcelona Opera House Liceu, playing the role of Don Basilio in Gioacchino Rossini's The Barber of Seville (conductor - Giuseppe Finzi, director - Juan Font), and also performed the role of Philip II in the production of Don Carlos Diir by the Bolshoi Theater of Russia ( Sagripanti, directed by Adrian Noble). On tour of the Moscow Academic Musical Theater in Tianjin (China) he sang the part of Kutuzov in the opera by S.S. Prokofiev's "War and Peace" (conductor - Felix Korobov, director - Alexander Titel). He also sang the roles of Landgrave in "Tannhäuser" by R. Wagner (Novosibirsk State Academic Opera and Ballet Theater, conductor Ainars Rubikis), de Brony in "Judeica" by F. Halevy (Flemish Opera, Antwerp, Ghent, Belgium, conductors - Tomasz Netopil, Yannis Pouspourikas, director - Peter Konvichny), King Rene in "Iolanta" by P.I. Tchaikovsky (Aix-en-Provence Festival, conductor - Theodore 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 Rene in PI Iolanta. Tchaikovsky (Lyon Opera House, conductor - Martin Brabbins, director - Peter Sellars), General in "The Gambler" by S. Prokofiev (Opera Monte Carlo, 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 Gyurbach), 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 made his debut at the Salzburg Festival as Boris Timofeevich (Lady Macbeth of the Mtsensk District by D.D.Shostakovich, conductor - Maris Jansons, director - Andreas Kigenburg) and at the Vienna State Opera as General (The Gambler by S.S.Prokofiev, conductor - Simone Young, director - Caroline Gruber). In September 2017, the long-awaited debut took place 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 sang the roles of Boris Timofeevich (Katerina Izmailova by Dmitry Shostakovich, conductor - Tugan Sokhiev) and Philip II (Don Carlos by G. Verdi, conductor - Keri-Lynn Wilson). Within the framework 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 the opera "Attila" by G. Verdi. He sang the same part in February 2018 on the stage of the Auditorium de Lyon concert hall (Lyon, France) as part of the Verdi Festival. In April 2018, he sang the part of Boris Izmailov in the opera Lady Macbeth of the Mtsensk District, making his successful debut on the stage of the San Carlo Theater in Naples (stage director - Martin Kuschey, conductor - Juraj Valchuya), played the role of the General on the stage of the Basel Opera House in the new production of Sergei Prokofiev's opera The Gambler, directed by Vasily Barkhatov.