Search artist by name
Are you an artist? Create your Operabase account
Yuriy Yurchuk
Baritone
Production reviews (16)
10 Sep 2022 - 24 Mar 2023
Giorgio Germont
(Baritone)
As the streets cleared and Belfast returned to normal after the King’s visit on Tuesday, some who had sung at the memorial service in St Anne’s Cathedral had other pressing duties: a performance of Verdi’s La Traviata at the city’s Grand Opera House, the second night of a new production by Cameron Menzies, conducted by Rebecca Lang, with the Ulster Orchestra in the pit. Northern Irel...
19 Jun 2021 - 24 Mar 2023
Marcello
(Baritone)
The students’ horseplay in the final act involves the daubing of multi-mammary graffiti on the walls of the garret. That and the stark lighting make for an alienating backdrop when the dying Mimi is helped in. Yet the staging ultimately achieves poignancy in its own terms when the casting of deep shadows almost obscures the graffiti, highlighting the pallor of Mimi’s face into the ba...
As the famously flirty coquette, Danielle de Niese steals the show with her antics in Café Momus, drunkenly climbing on tables and flashing her panties. While de Niese may not be the most vocally glamorous Musetta, she nicely charts the character’s development from outrageous party girl to concerned friend. Her post-breakup walk offstage at the end of Act 3 is particularly memorable...
On stage, the revival director, Dan Dooner, had to keep his principal singers safe, both in rehearsal and in performance, by reducing contact to a minimum – just the occasional arm around the shoulders or brief embrace between Mimi and Rodolfo.Act One, in which Mimi and Rodolfo meet and fall in love, and Act Four, when Mimi returns to die in Rodolfo’s arms, are the most successful in...
20 Mar 2017 - 24 Mar 2023
Il principe Yamadori
(Tenor)
Elizabeth DeShong, making her Royal Opera debut, was a terrific Suzuki, her ripe, plum-toned mezzo fabulously dark in its lowest register. She turned on Carlo Bosi's wheedling marriage-broker with real venom and the Flower Duet with Jaho was beyond sublime.In the minor roles, Yuriy Yurchuk was a stately Yamadori – the prince offering Cio-Cio San a way out – and Jeremy White reprised...
16 Jan 2017 - 24 Mar 2023
Il barone Douphol
(Baritone)
Bakanova is undeniably the star of the show. Her voice, pure and clean, dips and rises above the orchestra. She exudes a simmering balance of gentility and intensity, weakness and strength. Her dramatization of Violetta is as brilliant and vibrant as her voice, and the emotion she injects into her arias, particularly Amami, Alfredo and the haunting Addio, del passato, is palpable. Ay...
15 Oct 2016 - 24 Mar 2023
Schlémil
(Baritone)
A stagey child of the 80s would drool at the prospect of designs by William Dudley, costumes by Maria Björnson, lighting by David Hersey and choreography by Eleanor Fazan. And the dream team doesn't disappoint, with a vast, versatile split-level set that accommodates intimate exchanges and near-CGI crowd scenes involving the admirable Royal Opera Chorus with equal panache.Most of the...
19 Jun 2016 - 24 Mar 2023
Johann
(Bass)
rigolo's tenor has an appealing combination of clarity, openness and warmth. There's never any doubt that a phrase will be well turned with any high notes hit cleanly. Technically, Grigolo is highly impressive when it's time for the pianissimi or fine dynamic control. His matinée idol looks make him thoroughly credible as the youthful poet, and if I'm going to nit pick, the one imper...
16 Jan 2016 - 24 Mar 2023
Il barone Douphol
(Baritone)
The Royal Opera House’s latest revival of Richard Eyre’s version sees three different casts used during its run. The initial trio of Venera Gimadieva (Violetta), Samuel Sakker (Alfredo) and Luca Salsi (Germont) all pass muster on a difficult opening night: the original Alfredo Saimir Pirgu came down with a throat infection and was replaced on the day by the Australian tenor. Sakker,...
9 Jan 2016 - 24 Mar 2023
Cesare Angelotti
(Bass)
Uzbekistani tenor Mavlyanov made his Royal Opera debut tonight as Cavaradossi with no obvious show of nerves: his first aria Recondita Armonia was cool and composed, and his E lucevan le stelle in the final chapter displayed an impressive balance of tender warmth and burning passion. However, Frontali’s interpretation of the menacing Scarpia fell flat as the choral and orchestral for...