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Alexander Vinogradov

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Reviews

Alexander Vinogradov press reviews

Arena di Verona Carmen August 2010

Ebenfalls auf der positiven Seite der Escamillo von Alexander Vinogradov: Die vertrackte Auftrittsarie gelang ihm bemerkenswert gut mit durchschlagender Höhe und balsamischer Tiefe. Letztere setzte er auch in seinem Schlussduett mit Carmen noch einmal betörend  ein – als prickelnd-erotisches Versprechen für den Abend nach dem Stierkampf.
Jakobine Kempkens for Der Neue Merker

Verdi: Messa di Requiem Festival Verdi October 2009

Bass Alexander Vinogradov displayed a sizable, darkly colored voice, especially effective in the Mors stupebit, and combined well with the other singers.
Silvia Luraghi for The Opera Critic

Alexander Vinogradov straordinario giovane basso dal timbro morbido e dalla spiccata personalità
Lukas Franceschini for GB Opera

Shostakovich 13 Berliner Philharmonie October 2009 Barenboim
Und der zu Recht gefeierte Basssolist Alexander Vinogradov, in Berlin lebend und lehrend, formulierte sängerisch profund und erdig. Da Sänger größtenteils kaum noch gewillt sind, konzertant vorgetragene Vokalmusik mimisch, charaktervoll und subjektiv zu gestalten, waren vor allem die Passagen des zweiten ("Humor") und letzten Satzes ("Karriere") in ihrer wankelmütigen, bulligen, kauzigen Natur eine vokale Wohltat.
Translation:And the rightfully celebrated bass soloist Alexander Vinogradov, who lives and teaches in Berlin, expressed vocal profundity and earthiness.
Given how rarely, in concerts, singers are prepared to give character and gesture to their music the second passage (“Humor”) and the last movement (“Karriere”) were, in their fickle, mascular and cynical nature, a vocal tour-de-force
Berliner Zeitung 
Alexander Vinogradovs lyrischer Bass leuchtete wie ein Licht in rabenschwarzer Nacht. Die schonungslosen Texte des Regimekritikers
Jewgeni Jewtuschenko flossen ihm milde aus der Kehle.
Translation:Alexander Vinogradovs lyric bass shone like a light in in the darkness. The relentless texts of the regime's critic Yevgeny Yevtushenko were flowing gently from him.
Berliner MorgenpostBassist Alexander Vinogradov hat neben mühelose Tiefe auch eine Strenge die an Urauffhrungsberichte denken lässt:"wie eine Zeremonie" sei das gewesen.
Translation:
Bass AV has an effortless depth to his voice and a depth which reminds us of what was written on the occasion to the world premiere “wie eine Zeremonie” sei das gewesen…
Berliner Tageszeitung
 
Verdi Requiem with Maazel in Parma October 2009
"Miracolo a Parma sulle Note di Verdi"
Il basso Alexander Vinogradov ha una faccia da ragazzino, come un ragazzino e magro, ma ha la voce possente, con intonazione perfetta, die veri grandi bassi di tradizione orientale.
Corriere della Sera
 
Washington National Opera, Escamillio in 'Carmen', November 2008
 
Escamillo, the Toreador, was in the capable hands of a newcomer to Washington, Russian bass-baritone Alexander Vinogradov, who has the slim, athletic physique one can easily see dodging the horns of an enraged bull. Vinogradov¹s acting was secure and his stage presence credible. Most remarkable, though, was the large, clean, full sound of his voice, utterly lacking in woofiness and absolutely even from bottom to top. This is a singer we should encourage to return to Washington early and often. Intermissionmag.com
 
The surprise of the evening was bass-baritone Alexander Vinogradov as Escamillio, the swaggering matador. Slight of build, he erupted in his Act II entrance into an authoritative figure who easily catches the fickle Carmen's attention. His voice sliced like a knife through both chorus and orchestral accompaniment, not an easy task in this vocal range. T.L. Ponick for Washington Times
 
The Escamillo, Alexander Vinogradov, a past Operalia winner also making his company debut, fared considerably better [than Don Jose]. He represented that rare species of baritone who can actually make an effect in the "Toreador Song," which lies low for most baritones. Vinogradov has a low, dark voice that is also agile and not too big, and every note of the part lay easily within his range. Anne Midgette for Washington Post
 
Santa Fe Opera - Colline in 'La Bohème'
 
Alexander Vinogradov's adorable Colline was strongly acted, and his tightly grained, dark-honey bass is a gorgeous instrument. His last-act aria, a small but telling moment, got no applause — but only because the audience was reluctant to break the spell he'd cast. Craig Smith, The New Mexican, 30 June 2007
 
Royal Opera House, Covent Garden - Colline in 'La Bohème'
 
Another is the Russian bass Alexander Vinogradov, making his Royal Opera debut as Colline — and clearly a class above his fellow bohemians. He looks about 14, but there’s nothing pubescent about his voice, which is velvet-smooth yet thrillingly incisive. Richard Morrison, The Times,
 
Teatro la Fenice, Venice - Walter in 'Luisa Miller'
 
Du côté des hommes, aucune réserve de cette nature, Damiano Salerno (Miller) ayant su faire valoir sa voix magnifique - à mi-chemin entre puissance expressive et souplesse lyrique - dans toutes ses interventions, cependant que l’évident charisme d’Alexander Vinogradov - voix profonde, allure seigneuriale - irradiait dès sa première apparition.Virginie Palu, www.resmusica.com
Translation:
On the men's side, no such reserve, Damiano Salerno (Miller) having shown off his magnificient voice - half way between powerful expressiveness and lyrical flexibility - in all his appearances, whilst the evident charisma of Alexander Vinogradov - deep voice, regal stance - illuminates the stage from his first appearance.