BASS

Alexander Vinogradov

“Alexander Vinogradov’s performance as Aleko and then the crippled husband Lanciotto in Francesca is spellbinding, an outpouring of emotional Russian soul, warm but controlled vibrato and an authoritative stage presence. His spine-tingling monologue in Francesca is what opera should be about…the evening belongs to Vinogradov”
 Financial Times

©Polina Plotnikova

Introduction

Born in Moscow, internationally celebrated bass Alexander Vinogradov made his debut at the Bolshoi Theatre at the age of 21 as Oroveso in Norma.

He has worked with many leading conductors including Gustavo Dudamel, Daniel Barenboim, Kent Nagano, Vladimir Jurowski, Lorin Maazel, Mariss Jansons, Zubin Mehta, Placido Domingo, Valery Gergiev, Philippe Jordan, Antonio Pappano, Semyon Bychkov, Yuri Temirkhanov, Vasily Petrenko, Dmitrij Kitajenko, Helmuth Rilling and Myung-Whun Chung.

This season, Alexander will make a series of company debuts, beginning at LA Opera as Escamillo in Carmen, continuing to the Metropolitan Opera for Lucia di Lammermoor and Luisa Miller, and the Bayerische Staatsoper for Carmen. Alexander will also appear in Don Carlos at Palau de les Arts Reina Sofia, Valencia; Simon Boccanegra at Staatsoper Hamburg, Faust in Jerez, Le nozze di Figaro at the Bolshoi, and Ernani at Opéra de Marseille. On the concert platform, he will make his debut with the Orquesta y Coro Nacionales de España in Rachmaninov’s The Bells, which he will also reprise later in the season with the Orchestre de Paris and Giannandrea Noseda. Further engagements include Shostakovich Symphony no. 13 with Poznan Philharmonic as well the AIDS Gala at the Deutsche Oper am Rhein.


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Discography

  • 16 Oct 17 VERDI SIMON BOCCANEGRA
    Staatsoper Hamburg
    More info  

    “Der Bass Alexander Vinogradov, bleibt der Darsteller, der die glanzvollste Leistung bot. Sein Fiesco, Vater der von Boccanegra geliebten Maria, den er jedoch aufgrund dessen bürgerlichen Herkunft nie akzeptieren konnte, lässt sich für Intrigen gegen den Feind benutzen und verzeiht endlich, mit einer stimmlichen Inbrunst, die unter die Haut geht. Selbst in den Tiefen sind die Töne glasklar, ist seine Diktion deutlich. Er nimmt so, scheinbar ohne jegliche Schwierigkeit, das gesamte Publikum sofort für sich ein. Mit Recht.”
    Opermagazin.de

  • 09 Sep 17 BIZET Carmen
    LA Opera
    More info  

    “If one singer stands out from the rest of the cast, it’s Alexander Vinogradov. There’s something unmistakably absorbing in the way he stylizes his Escamillo. This bass makes Carmen move magically. Ensconced with a sexy bravado, M. Vinogradov has the right mix of pomposity in all the right places.”
    Christie Grimstad, concertonet

    “As Escamillo, the toreador who woos Carmen away from the soldier, Alexander Vinogradov was an exuberant presence. Slim and significantly smaller than Massi, with a robust bass and dynamic phrasing, he was the feisty adversary to Massi’s overwhelmed, lovesick José. Their knife fight, so well choreographed, was character made evident in movement and song as Escamillo elegantly parried with the skill of his profession, while José relied on physical strength to attack.”
    Jane Rosenberg, seenandheard-international

    “Alexander Vinogradov was a most interesting Escamillo. This energetic matador leapt onto a table at Pastia’s from which he sang his aria with strikingly resonant sounds”
    Maria Nockin, broadwayworld.com

    “With his slim figure, strong baritone voice and machismo presence, Alexander Vinogradov is totally believable as the matador, Escamillo. He’s a man whose swash never buckles.”
    Jim Farber, Daily News

     

     

  • 30 Jul 17 BEETHOVEN BBC National Orchestra of Wales
    BBC Proms - Royal Albert Hall, London
    More info  

    “Among the soloists, the Russian Alexander Vinogradov, making his Proms debut, impressed the most with his tremendously resonant bass.”
    Stephen Pritchard, The Guardian

    “Alexander Vinogradov acted out “O Freunde, nicht diese Töne” as if his life depended on it…”
    Peter Reed, Classical Source

    “The powerful “O Freunde” entry was delivered with excellent projection and power by Alexander Vinogradov.”
    Aaron Davies, Backtrack

  • 12 Jul 12 BIZET Carmen
    Teatro la Fenice
    More info  

    “Among the principals, the most vocally convincing singer was Alexander Vinogradov. The hybrid role of Escamillo is normally a better fit for a bass baritone, but Vinogradov’s full-fledged bass proved at complete ease at both extreme ends of his couplets (his high Fs were truly secure and the low Bs flat meaty and resonant).”
    Nicola Lischi, Opera Britannia

  • 01 May 13 GOUNOD Faust
    Opera de Montreal
    More info  

    “La révélation de la soirée est le Russe Alexander Vinogradov en Méphistophélès (le Diable). Une très grande voix de basse, profonde et souple, une prononciation française presque parfaite et dénotant une rare compréhension du texte, en fait de chaque mot, et une incarnation du personnage pleine de sarcasme et d’humour.”
    Claude Gingras, La Presse Montreal

    “The cast included the Russian bass Alexander Vinogradov making a splendidly dark sound as Méphistophélès”
    Arthur Kaptainins, Montreal Gazette

    “Dans la lignée des Méphisto slaves comme Christoff, Ghiaurov ou Nesterenko, la basse russe Alexander Vinogradov retient d’abord notre attention par une voix prodigieuse, à la projection parfaite et aux aigus d’une facilité déconcertante. À ses dons vocaux, le chanteur allie une aisance et même une élégance scénique qui font irrésistiblement penser à la beauté du diable.”
    Louis Bilodeau, Avant Scene Opera

    “The outstanding voice, however, belonged to the extraordinary basso
    profundo of the young Russian, Alexander Vinogradov. His voice was rich in
    timbre, radiant and sonorous. Surely it filled every nook and cranny of the
    hall.”
    Earl Arthur Love for Concertonet

    “Vinogradov was the star of the evening; one of those unforgettable singers like aliens who emit beautiful sounds the way other people cough. His voice will carry him to the top and his joyfulness should keep him there.”
    Lev Bratishenko for Rover Arts

    “Dès le Prélude, accompagné d’une cohorte de démons, le Méphisto d’Alexander Vinogradov donne une vive impression. Et nous ne serons pas déçus. La voix de la basse russe incarne à merveille le diable. Présence captivante sur scène, sa performance atteint des sommets dans ses deux airs, dont celui  du Veau d’or. Il ne lui manque rien, pas même l’odeur de soufre qui sied au démon. Une diction correcte, un bon phrasé, une grande voix mais souple, ample et capable de nuances. Il a toutes les qualités requises pour tenir les rôles diaboliques.”
    Jacques Hétu for ResMusica

    “Alexander Vinogradov est véritablement le maître des lieux autant dramatiquement que vocalement. Basse profonde aux superbes harmoniques, il campe un Méphistophélès superlatif. Dès son entrée en scène au premier sa seule présence révèle un irrésistible charisme qui s’exprimera magnifiquement dans « Le veau d’or » et de façon définitive dans un sarcastique « Vous qui faites l’endormie ». Chanteur impressionnant, il conduit brillamment le jeu. À titre d’exemple il tient la main armée de Faust pour frapper dans le dos un Valentin occupé à se libérer des diables qui l’assaillent de toutes parts au moment du duel. Le metteur en scène y est certainement pour quelque chose, mais Vinogradov exécute le mouvement avec un naturel confondant . Un grand Méphistophélès dont la carrière internationale a déjà pris un envol remarquable.”
    Réal Boucher for Forum Opera

    “Une théâtralité, une présence, une vivacité et une morgue tout enrobée de séduction, complétait parfaitement bien une voix puissante, capable d’exprimer le charme le plus doux et la bassesse la plus vile. Malgré quelques difficultés dans la prononciation, la basse Alexander Vinogradov aura laissé d’agréables traces dans nos souvenirs.”
    Martin Prévost for Pieuvre

  • 01 Apr 13 ROSSINI Il Barbiere di Siviglia
    San Diego Opera
    More info  

    “Vinogradov displayed comic flexibility as well, and in “La Calunnia” and the ensuing ensemble, he offered impressively rich timbre, variety of vocal color, steadiness and virtuoso coloratura, required of all in numerous florid ensembles. His pasty-faced Basilio was more subtle than most and as a result more amusing”
    Charlene Baldridge, Opera News

  • 07 Feb 13 RACHMANINOV The Bells
    Danish Radio Symphony / Vasily Petrenko
    More info  

    “Hos hende savnede jeg til gengæld luftighed og transparens. Cremen kom i finalesatsen – bassen Alexander Vinogradov levede sig dybt ind i sin dødsrolle og skabte magi i salen med sin fyldige og fantastisk bløde klang. Superdynamisk kropssprog”
    Christine Christiansen for kpn.dk

    “De tre solister var russiske og dermed idiomatiske i dette hyldestværk til lyden af russiske klokker. Især bassen Alexander Vinogradov overrumplede i den dystre recitation om dødens klokker, og også i den svævende nocturne om bryllupsklokkerne blev man aldeles henført af den ekspansive klang hos sopranen Tatjana Pavlovskaja. Sikke gyldne stemmer!”
    Valdemar Lønsted for Information.dk

    “Og solisterne? Især den blonde sopran var god. Og selvfølgelig bassen Alexander Vinogradov til sidst. Han får så meget drama ud af denne mægtige sørgemarch om død og dystre tanker.”
    Søren Schauser for Berlingske

  • 04 Feb 12 GOUNOD Romeo et Juliette
    Palm Beach Opera
    More info  

    “…and Alexander Vinogradov as Frère Laurent stole the spectacle whenever they appeared on the stage. Both were charismatic singers with beautiful tone, perfect technique and, in Vinogradov’s case, a huge voice. One can only wish for their return in more important roles with Palm Beach Opera.”
    Marcio Bezerra for Palm Beach Daily News

    “the standout was the Russian bass Alexander Vinogradov in the role of the well-meaning but bumbling cleric Frère Laurent. A slender, compact man, Vinogradov deployed a voice of immense richness and power, bringing stentorian dignity to the secret marriage ceremony performed for the two lovers. ”
    David Fleshler for South Florida Classical Review

    “The finest male voice on stage Friday may have belonged to the young Russian bass Alexander Vinogradov, whose Frère Laurent boasted a voice of huge proportions and a very attractive sound. Even in the long repeated notes of the music leading up to the marriage ceremony, his was an instrument on which every ear hung, and indeed he received a rapturous ovation at the curtain call.”
    Greg Stepanich for Palm Beach Chartspaper

    “The great surprise of the performance was the singing of the Russian bass Alexander Vinogradov, who possesses a huge voice of Rene Pape-style strength and color. As Frere Laurent, Vinogradov made the most of his scene, and with him as a crucial anchor, the quartet that closes Scene 1 of Act held some of the best singing of the night. The crowd gave him a rapturous curtain call”
    Greg Stepanich for The Palm Beach Post

    “The sensation of the night was Alexander Vinogradov as Frere Laurent. From the moment he began to sing we knew we were in the presence of a wonderful talent. His deep, deep bass is right out of the Russian Orthodox Church’s liturgical tradition.”
    Rex Hearn for Palm Beach Artspaper

  • 01 Nov 11 BELLINI Norma in Concert
    Deutsche Staatsoper Berlin
    More info  

    “Der Oroveso dagegen wird durch den herrlich maskulinen, jungen Alexander Vinogradov erheblich aufgewertet.”
    Heiko Schon for Kultur-Extra

    “Eine ausgezeichnete Figur in jeder Hinsicht macht auch Alexander Vinogradov als oberste Druide Oroveso. Mit seinem volumigen „typisch russischem“ Bass imponiert er von Anfang an und kann zuletzt – als Vater der Priesterin Norma – seine Emotionen ebenfalls ergreifend ausdrücken.”
    Ursula Wiegand for Der Neue Merkur

    “Glücklicherweise lassen sie den vorzüglichen Alexander Vinogradov zurück, einen jungen Bassisten von Rang, dem jeder seiner Kurzauftritte glänzend gelingt.”
    Klaus Geitel for Berliner Morgenpost

    “stimmlich prachtvoll verkörpert Alexander Vinogradov die Basso-cantante-Partie des Oroveso”
    Peter Pachl for Neue Musikzeitung

    “Alexander Vinogradov (Oroveso) steuert mit schwarz meliertem Bass eine sehr spezielle Farbe bei.”
    Udo Badelt for Der Tagesspiegel

  • 01 Jun 11 GOUNOD Romeo et Juliette
    Teatro alla Scala
    More info  

    “Alexander Vinogradov è un Frère Laurent di bella voce, duttile nel fraseggio, sicuro nella salita agli acuti così come nella discesa ai gravi. Alterna una commossa austerità non priva di solennità ad un affettuoso paternalismo.”
    Ugo Malasoma for operaclick.com

    “Elsa Airoldi “Bene, nell’assieme, i cantanti…Ad iniziare da Alexander Vinogradov, strepitoso Frere Laurent.”
    Corriere del Ticino

    “Of the supporting cast top honors go to Alexander Vinogradov’ sonorous bass as younger than usual Frere Laurent…”
    Opera Britannia

    “Molto interessante, sopratutto nelle frasi legate a mezza voce e nel registro centro grave, il Frere Laurent di Alexander Vinogradov”
    www.Gliamicidellamusica.net

    “Eccelenti nei ruoli di contorno sia il dovizioso basso Alexander Vinogradov (Frere Lurent)….”
    Il Giornale

  • 01 Apr 11 RIMSKY-KORSAKOV The Tsar's Bride
    Royal Opera House Covent Garden
    More info  

    “a new star for me was Alexander Vinogradov, as the ruthless yet undoubtedly charismatic and alluring leader of the oprichniki, Malyuta-Skuratov. I hope to hear more of him before long.”
    Mark Berry for Seen and Heard international

    “A seriously impressive bass voice belongs to Alexander Vinogradov as Malyuta-Skuratov, the chief of Oprichnik, along with bags of personality, charming on the surface, yet lethal underneath; it’s he who provides the knife for Sobakin to dispatch Gryaznoy at the close.”
    Mark Pullinger for Opera Britannia

    “The strength of the evening is the excellence of the cast. […] the outstanding Alexander Vinogradov as Malyuta-Skuratov.”
    Richard Fairman for Financial Times

    “Alexander Vinogradov is imposing as the chief oprichnik Malyuta-Skuratov”
    George Loomis for the New York Times

    “There’s certainly promise from a younger specimen of that rare phenomenon [a rock-solid bass], Alexander Vinogradov”
    David Nice for the Arts desk

    “Alexander Vinogradov (Malyuta-Skuratov) and Dmytro Popov (Lïkov) were strong as the Tsar’s right-hand man and main (male) victim”
    Flora Willson for Musical Criticism

    “and there’s a wonderfully varied texture of voices across the casting from the contrasting basses of Paata Burchuladze’s sonorous and worldly weathered Sobakin to the thrilling virility of Alexander Vinogradov’s wily and physically lithe Malyuta-Skuratov.”
    Edward Seckerson for the Independent

  • 03 May 13 SHOSTAKOVICH 14th Symphony
    Royal Liverpool Philharmonic Orchestra
    More info  

    “The performance also featured the astonishing young talent of Alexander Vinogradov, whose penetrative bass tolled like the ringing of an ancient, Russian Orthodox bell.”
    Alfred Hickling for The Guardian http://www.guardian.co.uk/music/2013/may/05/royal-liverpool-philharmonic-petrenko-review

    “A powerful message delivered with powerful performances here from both the RLPO and by the dual expressive forces of stand-in soprano Gal James and bass – or perhaps, given the surprising deep, chocolaty tones that emanated from the deceptively boyish exterior, double bass – Alexander Vinogradov. Exhaustingly, oppressively, at times thrillingly desolate, while there were occasions the Russian text was somewhat indistinct, the meaning was always clear”
    Catherine Jones for Liverpool Echo http://www.liverpoolecho.co.uk/liverpool-entertainment/echo-entertainment/2013/05/03/review-shostakovich-s-14th-symphony-and-britten-s-symphony-for-cello-and-orchestra-100252-33277154/#ixzz2ScHrRj3x

  • 18 May 13 TCHAIKOVSKY Eugene Onegin
    Teatro Regio di Torino
    More info  

    “Aleksandr Vinogradov è il giovane basso che riceve il maggior numero di ovazioni per la resa vocale, attraverso la potenza ed il profondissimo colore scuro gestito con possenza e sapiente tecnica, ancor chè traspaia una bella dote naturale. Bravi anche tutti gli altri interpreti ed i mimi.”
    Renzo Bellardone for Palermo Mania http://www.palermomania.it/news_rub.php?id=1360

    “Avec une voix d’une beauté peu commune, Aleksandr Vinogradov (Le prince Grémine), droit, majestueux, solennel fait entendre son air (certes une des plus belles pages jamais écrites par Tchaïkovski), dans un silence impressionnant. Nul besoin de connaître la langue russe, ni de lire les surtitres, son chant suffit à exprimer son amour éperdu pour Tatiana.”
    Jacques Schmitt for Resmusica http://www.resmusica.com/2013/05/27/a-turin-oneguine-tourne-en-rond/

    “E merita menzione soprattutto il basso Aleksandr Vinogradov, al quale
    spetta una sola aria che basta a renderlo l’interprete più applaudito
    della serata: dominata dalla profondità e dal calore di un innamorato
    adulto, l’aria si conclude con un sol grave dalla fermezza memorabile.”
    Marco Leo for GB Opera http://www.gbopera.it/2013/05/torino-teatro-regio-evgenij-onegin/

  • 28 May 13 SHOSTAKOVICH Babi Yar
    Opera Paris Bastille
    More info  

    “Déjà entendue à l’Opéra, et tout aussi investie, la basse Alexander Vinogradov s’est signalée par la beauté du timbre, sa projection aisée, son legato délié. Qui plus est dans un vrai dialogue avec des forces vocales très présentes (le Chœur Philharmonique de Prague avait rejoint celui de l’Opéra): renvoyant le son dans toute sa puissance, la nouvelle conque montrait là une efficacité indéniable”
    Rémy Louis for Diapason http://www.diapasonmag.fr/actualites/critiques/vu-et-entendu-la-nouvelle-conque-de-l-opera-bastille

  • 21 Jun 13 VERDI Attila
    Festspiele St. Gallen
    More info  

    “Alexander Vinogradov füllt diese mit seinem prachtvollen Bass begeisternd unprätentiös und ohne falsches Pathos aus. Höhepunkt sicher seine Traumerzählung Mentre gonfiarsi, in welcher er die Verletzlichkeit seiner kriegerischen Seele mit grosser Eindringlichkeit offenlegen kann. Er ist mal Wolf im Schafspelz, mal Schaf im Wolfspelz, auch darstellerisch ist der blendend aussehende Bassist von grosser Agilität. Sportlich überwindet er die immensen Distanzen innerhalb diese Trümmerfeldes.”
    oper aktuell http://www.oper-aktuell.info/kritiken/details/artikel/stgallen-festspiele-attila-21062013.html

  • 24 Mar 14 RACHMANINOV Songs
    Delphian CD
    More info  

    “The stars are Andrei Bondarenko and Alexander Vinogradov, both young but mature interpreters.”
    The Sunday Times

    “However, it is Alexander Vinogradov who made the deepest impression on me. His beautiful rich dark tone and musicality single him out with distinction. Listen to him in ‘Fate’ Op. 21 No. 1 with its Beethoven 5th Symphony motif. The drama he brings and his diction call to mind Chaliapin. Likewise, these characteristics can be found in the next song ‘By the Grave’ Op. 21 No. 2.”
    Stephen Greenbank for MusicWeb International http://www.musicweb-international.com/classrev/2014/Jun14/Rachmaninov_songs_DCD34127.htm

  • 29 Apr 14 VERDI Ernani
    Opera de Monte Carlo
    More info  

    “Le très jeune Alexander Vinogradof présente une figure bouleversante du vieux Silva, vrai cocu planté sur les ergots de l’honneur castillan. Un jeu infini de nuances et de couleurs, une fantastique maîtrise des clairs-obscurs, bref, un artiste à suivre de très près…”
    Christian Colombeau for Le Podcast Journal http://www.podcastjournal.net/L-Ernani-de-Verdi-clot-de-maniere-flamboyante-la-saison-lyrique-monegasque_a16561.html

    “De Silva, on attend d’habitude qu’il donne la réplique. Alexander Vinogradov en fait un protagoniste à part entière, empoignant sa cabalette « infin che brando vindice » avec la même énergie, drapant chacune de ses interventions dans la même étoffe, soyeuse, brodée même si plus sombre.”

    Christophe Rizoud for ForumOpera http://www.forumopera.com/index.php?mact=News,cntnt01,detail,0&cntnt01articleid=6475&cntnt01origid=57&cntnt01lang=fr_FR&cntnt01returnid=54

    “Cette production monégasque nous a également fait découvrir, dans le rôle du Grand d’Espagne Don Ruy Gomez de Silva, la jeune et très talentueuse basse russe Alexander Vinogradov. Vaillance équilibrée dans tous les registres de graves qui l’autorise à chanter avec le même brio le vieillard soupirant, le noble outragé, et surtout, dans la scène finale « Le masque », ce rappel inflexible, glacé du pacte fatal et digne d’un Commandeur mozartien réclamant son sinistre dû.”
    Jean-Luc Vannier for Musicologie.org http://www.musicologie.org/publirem/le_baryton_ludovic_tezier_le-tenor_ramon_vargas.html

  • 07 May 14 SHOSTAKOVICH Symphony No 14, Naxos
    Royal Liverpool PhilharmonicOrchestra, Petrenko
    More info  

    “he has a tremendous expressive range, from the desolation of At the Santé Jail to the vicious insults of The Zaporozhian Cossacks’ Reply to the Sultan of Constantinople”
    David Hurwitz for Classics Today http://www.classicstoday.com/review/petrenkos-shostakovich-fourteenth-wow/?search=1#sthash.Z0WdEb1h.dpuf

    “Vinogradov’s voice has sepulchral depth and is firm and focused of tone (…) Vinogradov impresses again but it’s Gal James who really captures the attention.”
    John Quinn for MusicWeb International http://www.musicweb-international.com/classrev/2014/Apr14/Shostakovich_sy14_8573132.htm“The bass, Alexander Vinogradov, is outstanding”
    Andrew Clark for the Financial Tmes http://www.ft.com/cms/s/2/cae70e1e-b2e3-11e3-8038-00144feabdc0.html#axzz311ORgJqD

  • 11 May 14 BIZET Carmen
    Teatro Carlo Felice
    More info  

    “Sinceramente eccellente è il toreador di Alexander Vinogradov. Finalmente è stato possibile ascoltare un Escamillo in grado di accontentare il pubblico con gli acuti, saldi e ben sostenuti, così come vuole la tradizione, ma anche pieno, solido e ben appoggiato nelle note basse, con l’ulteriore impreziosimento di un buon fraseggio.”
    William Fratti for Opera Libera http://www.operalibera.net/joomla/recensioni/spettacoli1/901-carmen

  • 24 Apr 14 GOUNOD Faust
    Atlanta Opera
    More info  

    “Alexander Vinogradov sang the role of Méphistophélès with grandeur and ease. His solo arias were the high points of the evening, especially the strophic serenade, “Vous qui faites l’endormie” when he flaunted a broad palette of vocal color and resonance.”
    Stephanie Adrian for Operanews

  • 19 Jun 14 RACHMANINOV The Bells
    Konzerthaus Berlin
    More info  

    “Aber auch die exzellenten Solisten, allen voran Bassist Alexander Winogradow, geben Anlass zu heller Verzückung.”
    Christian Schmidt for Der Tagesspiegel http://www.tagesspiegel.de/kultur/konzerthausorchester-in-berlin-dirigent-dmitrij-kitajenko-ohne-zauberkuenste/10077594.html

  • 19 Sep 14 RACHMANINOV The Bells
    Konzerthaus Gothenburg
    More info  

    “De tre ryska sångsolisterna Anna Samuil sopran, Sergej Skorochodov tenor och Alexander Vinogradov bas övertygar starkt i Rachmaninovstycket, men här gör också kören en heroisk insats. Det bitterljuva i musikens uttryck berör på ett sällsamt vis, det är vackert och kärvt på samma gång. ”
    Magnus Haglund for GP http://www.gp.se/kulturnoje/recensioner/konsert/konsert4fyrar/1.2495097-goteborgs-symfoniker-konserthuset-fredag

  • 06 Oct 14 SHOSTAKOVICH Symphony No. 13, Naxos
    Royal Liverpool PhilharmonicOrchestra, Petrenko
    More info  

    “Alexander Vinogradov is a superb bass soloist”
    Nicholas Kenyon for the Guardian http://www.theguardian.com/music/2014/oct/05/shostakovich-13-babi-yar-powerful-climax-rlpo-cycle

  • 17 Oct 14 TCHAIKOVSKY Iolanta
    Cologne Philharmonie
    More info  

    “Die stärkste stimmliche Leistung kam von dem prächtigen Bass Alexander Vinogradov. Der 38-jährige, eher schmächtige Russe überzeugte nicht nur mit einer wunderbar geführten, von schwarzer Tiefe bis in baritonale Höhe sehr ausgeglichenen und immer gut fokussierten Stimme, er konnte auch sehr gut vermitteln, wie sehr König René, der seine Tochter liebt, unter ihrer Behinderung leidet und dabei durch eine falsche Fürsorge mehr Schaden als Nutzen anrichtet.”
    Remy Franck for Pizzicato http://www.pizzicato.lu/auf-diese-cd-produktion-durfen-sie-sich-schon-jetzt-freuen-kitajenkos-prachtige-jolanthe-in-koln/

    “Zum „Sieger“ des Abends wurde ALEXANDER VINOGRADOV (König René) erkoren. Sein Bass ist von einer autoritativen Timbrierung sondergleichen gekennzeichnet, welche das Publikum nachgerade narkotisch in Bann zog. Einfach hinreißend.”
    Christoph Zimmermann for Der Neue Merkur http://www.der-neue-merker.eu/koeln-philharmonie-jolanthe-konzertant

    “In der Rolle des Königs riss der russische Bass Alexander Vinogradov schon allein durch seine wuchtig-virile Autoritat mit; die hitverdächtige Pracht-Arie sorgte im (eher mäßig gefüllten) Saal für erste Ovationen.”
    Stefan Rütter for Kölner Stadt-Anzeiger

    “Alexander Vinogradov als König krönte seine Arie in einer Solokadenz im Kellerbass.”
    Olaf Weiden for Kölnische Rundschau

  • 27 Nov 14 VERDI Nabucco
    Opera National de Lorraine, Nancy
    More info  

    ‘…l’impressionnante basse russe Alexander Vinogradov, absolument éblouissant dans le rôle du grand prêtre Zaccaria.’
    Didier Hemardinquer, Est Republicain, 27/11/2014 http://www.estrepublicain.fr/actualite/2014/11/27/trois-abigaille-pour-nabucco

    “La distribution vocale est quant à elle dominée par le russe Alexander Vinogradov qui dans le rôle du grand prêtre Zaccaria joue d’une voix de basse impressionnante. ”
    Noël Tinazzi, Rue Du Théâtre, 27/11/2014 http://www.ruedutheatre.eu/article/2835/nabucco/

    “El publico aplaudio la inmensa voz, profunda y justa, sin esfuerzo aparente, de Alexander Vinogradov en el papel de Zacharia.”

    Jaume Estapa, Opera actual

  • 08 Feb 15 RACHMANINOV Aleko/Francesca da Rimini
    Opéra national de Lorraine
    More info  

    ‘Alexander Vinogradov’s performance as Aleko and then the crippled husband Lanciotto in Francesca is spellbinding, an outpouring of emotional Russian soul, warm but controlled vibrato and an authoritative stage presence. His spine-tingling monologue in Francesca is what opera should be about…the evening belongs to Vinogradov’
    Francis Carlin, Financial Times http://www.ft.com/intl/cms/s/0/78cc7590-b055-11e4-92b6-00144feab7de.html

    ‘Tant sur la scène qu’à l’applaudimètre, le triomphateur incontestable de la soirée est la basse russe Alexander Vinogradov,..il réalise une performance formidable d’intensité, dans la souffrance et le désespoir (la cavatine d’Aleko, chère à Chaliapine) comme dans la violence, d’une voix richement timbrée, bien projetée et enveloppante, au grain superbe et aux nuances infinies.’
    Michel Thomé, Resmusica http://www.resmusica.com/2015/02/10/aleko-aux-enfers-deux-rares-operas-de-rachmaninov-a-nancy/

    ‘Les distributions, homogènes, cohérentes, sont dominées par les performances de la jeune basse russe Alexander Vinogradov découvert sur ce même plateau il a peu dans Nabucco de Verdi …il stupéfie par sa présence à la fois puissante et fragile (il est jeune et, mince, beau gosse à l’opposé des personnages qu’il incarne), par son timbre d’ébène lustrée et sa projection parfaitement calibrée. A le voir et à l’entendre dans les deux grandes arias d’Aleko et Malatesta, on reste chevillé d’émotion.’
    Caroline Alexander, Webtheatre http://www.webtheatre.fr/ALEKO-et-FRANCESCA-DA-RIMINI-de

    ‘ Alexander Vinogradov impose en revanche un Aleko et un Lanceotto de grand style, belle voix et beau phrasé, noblesse dans l’émotion ou la colère – deux rôles où s’illustra Chaliapine.’
    Didier Van Moere, diapazon http://www.diapasonmag.fr/actualites/critiques/opera-national-de-lorraine-aleko-et-francesca-da-rimini-de-rachmaninov

    ‘Aleko…est campe par la basse Alexander Vinogradov…Il était époustouflant de presence vocale et physique. Un timbre au large spectre et un art du phrase impressionnant. Mais il était encore plus poignant dans le role de Lanceotto Malatesta…
    Dider Hemardinquer, L’Est Republicain

    ‘Dans son compte rendu du Nabucco donné en début de saison, Christophe Rizoud soulignait la largeur et la puissance de la voix d’Alexander Vinogradov, et il faut ici encore saluer l’engagement scénique et l’aisance de cette basse parfaitement à l’aise dans l’aigu. Le monologue de Malatesta est un beau moment de théâtre, et l’on espère retrouver prochainement cette grande et belle voix.’
    Laurent Bury, Forumopera http://www.forumopera.com/nabucco-nancy-raffaella-angeletti-sauve-la-mise

  • 13 Mar 15 PUCCINI La Boheme
    The Dallas Opera
    More info  

    ‘Alexander Vinogradov, on the other hand, gives the philosopher Colline a rich and powerful bass.’
    Scott Cantrell, The Dallas Morning News http://www.dallasnews.com/lifestyles/arts/columnists/scott-cantrell/20150315-opera-an-emotionally-and-musically-gripping-la-boheme-from-dallas-opera.ece

    ‘The overwhelming sorrow permeating the garret is expressed beautifully by Vinogradov; his final ʻAdieuʼ of the aria “Vecchia zimarra, senti” was a highlight.’
    Monica Hinman, The Dallas Observer http://blogs.dallasobserver.com/mixmaster/2015/03/la_boheme.php

    ‘In his Dallas Opera debut, Alexander Vinogradov (Colline) brought the audience to a raucous applause in after his Vecchia zimarra, senti “coat” aria. His rich bass voice helped to underline the true pathos of the moment and helped to sell the larger story of the small bohemian group’s true character.’
    David Wueste, Opera Pulse http://www.operapulse.com/opera-reviews/2015/03/14/dallas-opera-with-la-boheme/

    ‘Alexander Vinogradov, as Colline, is that rarity of rarities—a real basso.’
    Gregory Sullivan Isaacs, TheaterJones http://www.theaterjones.com/ntx/reviews/20150316191706/2015-03-17/Dallas-Opera/La-boheme

    ‘The bass who wowed me with his performance of the famous coat aria was Alexander Vinogradov who sang the role of Colline, the philosopher. The placement of this aria in the final act, busting out of the death scene, always seems so unusual. Nonetheless, I thoroughly enjoyed Vinogradov’s performance of the sad aria, “Vecchia zimarra” when, in richly dark tones, he says goodbye to his old coat he needs to sell to purchase medicine for Mimi.’
    Laurie Lynn Lindemeier, The Columnawards http://thecolumnawards.org/columnonline/review/03-17-2015_LA_BOH%C3%88ME/

    ‘Alexander Vinogradov (Colline) had no difficulties at all with the orchestra. The young Russian bass has a mellow, rich instrument, put to superb use in Colline’s throw-away last act farewell to his overcoat (“Vecchia zimarra, senti”), which Vinogradov sang with steady, self-conscious sentimentality that never strayed into campiness.’
    Willard Spiegelman, Opera News http://www.operanews.com/Opera_News_Magazine/2015/6/Reviews/DALLAS__La_Boh%C3%A8me.html

  • 29 Jun 15 ROSSINI Guillaume Tell
    Royal Opera House, Covent Garden
    More info  

    ‘Alexander Vinogradov as the Swiss patriot Walter Furst sang a fine bass, with that marvellous Act II trio by Tell, Arnold and Furst — one of the finest things Rossini wrote’
    Mark Ronan http://www.markronan.com/2015/06/guillaume-tell-royal-opera-roh-covent-garden-june-2015/

    ‘Alexander Vinogradov is a highly accomplished Walter Furst, his own bass working very well with Finley’s bass-baritone.
    Sam Smith, Music OMH http://www.musicomh.com/classical/reviews-classical/guillaume-tell-royal-opera-house-london#c1CBJl4E4HhWPKHF.99

    ‘Alexander Vinogradov ofreció una buena voz y musicalidad en sus intervenciones, especialmente en el terceto del segundo acto con Tell y Arnold.’
    José M. Irurzun, Beckmesser http://www.beckmesser.com/londres-guillermo-tell-con-escandalo/

  • 28 Aug 15 TCHAIKOVSKY Iolanta
    OEHMS CLASSICS CD
    More info  

    “Alexander Vinogradov’s soft-grained bass is rock-solid and on magnificent form as Iolanta’s father, the protective King René, proving far stronger than the woolly Vitalij Kowaljow for DG.”
    Mark Pullinger, Gramophone http://www.gramophone.co.uk/review/tchaikovsky-iolanta-2

    “während Alexander Vinogradov ein entwaffnend tonschöner König René ist, dessen vielschichtiger Charakter sich in den kunstvoll angeschlagenen Zwischentönen offenbart.”
    Benjamin Künzel, Klassik.com http://magazin.klassik.com/reviews/reviews.cfm?TASK=REVIEW&RECID=28796&REID=15968

    ‘Alexander Vinogradov’s healthy, attractive bass, alertly applied, delivers a first-class René’
    David Shengold, Opera News http://www.operanews.com/Opera_News_Magazine/2016/4/Recordings/TCHAIKOVSKY__Iolanta.html

  • 19 Oct 15 BIZET Carmen
    Royal Opera House
    More info  

    “Escamillo was played with impressive theatrical flair by Alexander Vinogradov. His voice is low for the part, but his sheer weight of tone made for a memorable performance – and the grandest Toreador Song of recent memory. ”
    Gavin Dixon for Opera Britannia https://operabritanniauk.wordpress.com/2015/10/20/bizet-carmen-the-royal-opera-19th-october-2015/

    “Alexander Vinogradov’s Escamillo lets rip with a proud display of toreador charisma and a big, bass voice.”
    Richard Fairman for the Financial Times http://www.ft.com/cms/s/0/77905daa-7714-11e5-a95a-27d368e1ddf7.html

    “Vinogradov brings the right sort of macho swagger to his bullfighter rival”
    George Hall for the Guardian http://www.theguardian.com/music/2015/oct/20/carmen-review-royal-opera-house-elena-maximova-alexander-vinogradov-francesca-zambello

    “Alexander Vinogradov brings Russian depth to toreador Escamillo”
    Graham Rogers for The Stage https://www.thestage.co.uk/reviews/2015/carmen-at-the-royal-opera-house-review-lively-revival/

    “Alexander Vinogradov has a pleasant, smooth basso cantante voice which resulted in a rather smooth, urbane Escamillo.”
    David Karlin for Bachtrack https://bachtrack.com/review-carmen-royal-opera-hymel-maximova-car-october-2015

  • 31 Jan 16 GOUNOD Faust
    Aalto-Theater Essen
    More info  

    ‘Stark und sängerisch der eindrucksvollste Charakter: Alexander Vinogradov als charmanter Bösewicht. Sein Mephistopheles besitzt das aalglatte Charisma, mit dem er über alles Irdische und Menschliche verachtend triumphiert. ‘
    Jörg Loswill, Theaterpur http://theaterpur.net/theater/musiktheater/2016/02/e-aalto-faust.html

    ‘Und dann das Ereignis Alexander Vinogradov. Der Moskauer (40) verfügt über einen raumgreifenden Bass, der noch fülliger wirkt, wenn er aus dem Zuschauerraum (Kirchenszene) ertönt. Sein Méphistophélès klingt so kantabel wie der von Nicolai Ghiaurov, ist aber versetzt mit einer leichten Sprödigkeit, wie sie Boris Christoff eigen war. Eine faszinierende Mixtur. Der Jubel des Publikums verwunderte nicht.
    Christoph Zimmermannm Der neue Merker http://der-neue-merker.eu/essen-faust-premierebln

    ‘Der raumgreifende, wandlungsfähige Bass von Alexander Vinogradov als Mephisto: ein Ereignis.’
    Dirk Aschendorf, Westdeutsche Allgemeine Zeitung http://www.derwesten.de/kultur/aalto-theater-in-essen-zeigt-gretchen-im-maerchenwald-id11513980.html

    ‘Ganz andere Facetten brachte Alexander Vinogradov als Méphistophélès in die Vorstellung ein. Elegant zynisch, gleichgültig, aalglatt, dann am Ende, als er aus dem Auditorium zu Marguerite spricht, geradezu schaudern machend dämonisch. Stimmlich bot er mit beeindruckend voluminöser Tiefe und geschmeidiger Stimmführung geradezu eine Machtdemonstration’
    Y. Han, Opernglas

  • 10 Dec 15 VERDI MACBETH
    Palau des les Artes Reina Sofia, Valencia
    More info  

    “Bass-baritone Alexander Vinogradov did really well; he has an attractive voice and sang with gusto.”
    José M. Irurzun, Seen and Heard http://seenandheard-international.com/2015/12/placido-domingo-and-a-superb-cast-triumph-in-valencias-macbeth/

  • 25 Aug 15 VERDI DON CARLOS
    Teatro Colón, Buenos Aires
    More info  

    “Sacando los comprimarios ya comentados las mejores voces fueron las de Fabián Veloz (Posa) y Alexander Vinogradov (Filipo II). Fabián Veloz fue un claro triunfador con su Marqués de Posa por color vocal, expresión, volumen y línea verdiana. Por debajo Alexandrer Vinogradov fue en Rey de absoluta solvencia en toda la extensión, con un bello timbre y adecuada proyección.”
    Gustavo Gabriel Otero, Mundoclassico http://www.mundoclasico.com/ed3/documentos/doc-ver.aspx?id=7cc230fb-e780-469a-8281-0b1e6f41ac1e

    “Alexander Vinogradov compuso un grato Felipe II desde lo vocal, logrando su mejor momento en la escena del ‘Ella giammai m’amo’.”
    Prof. Christian Lauria, Opera World http://www.operaworld.es/critica-de-don-carlo-en-el-teatro-colon-de-buenos-aires/

  • 05 Apr 16 BIZET Carmen
    Opernhaus Zürich
    More info  

    ‘ With his dark good looks, charisma and commanding voice, (Vinogradov) is a natural for the role. His impact is a notch above the rest of the cast’
    Rick Perdian, Seen and Heard International http://seenandheard-international.com/2016/04/excitement-on-stage-and-off-makes-for-a-memorable-carmen/

  • 16 Sep 16 PROKOFIEV Ivan the Terrible
    Konzerthaus Berlin
    More info  

    ‘Unter den Solisten sind vor allem die Altistin
    Marina Prudenskaja und der Bass Alexander Vinogradov hervorzuheben, die ihre
    Rollen in herausragender Weise interpretierten. Das Publikum spendete zum
    Schluss begeisterten Applaus.’

    Corina Kolbe, Musik Heute http://www.musik-heute.de/13863/eisensteins-iwan-der-schreckliche-erstmals-mit-originalmusik-aufgefuehrt/

    ‘Die Mezzosopranistin Marina Prudenskaja und der Bassist Alexander Vinogradov schlugen volltönend in die Klischee-Kerbe: dunkeltimbriert mit perfekter Verblendung von Diktion und Vokallinien.’
    Roland H. Dippel, NMZ http://www.nmz.de/online/restauration-eines-gesamtkunstwerks-eisensteins-und-prokofjews-iwan-der-schreckliche-berlin

    ‘Die Vorführung des berühmten sowjetischen Films unter Ausklammerung der ihm eingeschriebenen Musik von Sergej Prokofjew, die das Rundfunk-Sinfonieorchester Berlin unter Frank Strobel, der Rundfunkchor Berlin (Choreinstudierung Rustam Samedov) und einige Gesangssolisten (Marina Prudenskaja und Alexander Vinogradov, Anne Bretschneider, Judith Simonis und Roksolana Chraniuk) von außen dazugaben, vor und neben der Leinwand, die an der Frontseite des Konzertsaals aufgespannt war, war für mich der Höhepunkt des Musikfests überhaupt – und die Länge dieses ersten Satzes, den ich mir erlaube, lasse man mir durchgehen als Andeutung der Dimension des Erlebnisses.’
    Michael Jager, Der Freitag https://www.freitag.de/autoren/michael-jaeger/iwan-grosnij-von-eisenstein-und-prokofjew

    ‘Ottimo il contributo di Alexander Vinogradov nella canzone dell’ospite e soprattutto di Marina Prudenskaja’
    Edoardo Saccenti, Operaclick http://www.operaclick.com/recensioni/teatrale/berlin-konzerthaus-ivan-il-terribile-film-due-parti-di-sergej-eisenstein

  • 11 Dec 16 VERDI I Vespri Siciliani
    Palau de les Arts Reina Sofía, Valencia
    More info  

    ‘Los primeros bravos los recogió el bajo Alexánder Vinogradov, que estuvo profundo y contundente en el papel del insurrecto Procida.’
    La Vanguardia

    ‘En el papel de Procida, líder de la revuelta siciliana contra el invasor francés, el bajo ruso Alexánder Vinogradov estuvo excepcional con una voz poderosa y de gran expresividad dramática.
    El Diario

    ‘El exigente cuarteto vocal protagonista se completó con el bajo Alexander Vinogradov, que configuró una recreación de referencia del fabuloso personaje del héroe  libertador Giovanni da Procida. Desde su primera interveción, en su largo monólogo del segundo acto, hasta los últimos instantes de la ópera, Vinogradov elevó el nivel de la función y marcò los momentos de mayor entidad. Voz poderosa y torrencial manejada desde un calado expresivo surgido desde lo más profundo del personaje, a pesar que éste apareciera disfrazado en esta caprichosa producción de una imposible mezcla de Wotan y Holandés Errante con tintes de Sparafucile ¡y hasta de Gran Inquisidor!’
    Justo Romero, Levante

    Sensacional el bajo Vinogradov.
    Paco Bueno, El Mundo

    ‘Alexander Vinogradov como Procida impresionó por sus dotes vocales , con una voz generosa y de fácil proyección. Lleno la sala incluso cantando tumbado y boca abajo.’
    Cesar Rus, Las Provincias

    ‘Alexander Vinogradov es un dels grans Procida de hui en els millers escenaris del planeta i a Valencia (on actua ben sovint) ens va fer saber per que. La seua vez poderosa, des cavernosos freís a les moltes ascensions a l’agut, es va posar al servici d’una encarnacio rotunda del sordid i exaltat patriota.’
    Antonio Gasco, Quadern

    ‘…Alexander Vinogradov als Procida, der einen herrlichen, formschön ausgesungenen Bass präsentierte. Schön flutend, charismatisch-ausdruckskräftig sorgte seine Interpretation für den gesanglichen Höhepunkt des Abends, der insgesamt auf äußerst hohem Niveau über die Bühne ging.’
    S. Barnstorf, Opernglas

Repertoire

ARENSKY
Raffaello Cardinal
BEETHOVEN
Fidelio Fernando
BELLINI
Norma Oroveso
BERLIOZ
Damnation de Faust Mephisto
BIZET
Carmen Escamillo
DONIZETTI
Lucia di Lammermoor Raimondo
GOUNOD
Faust Mefistopheles
Romeo et Juliette Frere Laurent
MOZART
Die Zauberflöte Sprecher and Sarastro
Le nozze di Figaro title
Don Giovanni title, Leporello and Masetto
MUSSORGSKY
Boris Godunov  Pimen
PONCHIELLI
La Gioconda Alvise
PUCCINI
La bohème Colline
Turandot Timur
PROKOFIEV
Love of Three Oranges Tchelio
RACHMANINOV
Aleko Title role
Francesca da Rimini Malatesta
RIMSKY-KORSAKOV
Tsar’s Bride Sobakin and Skuratov
Mozart and Salieri Salieri
ROSSINI
Il barbiere di Siviglia Basilio
Il turco in Italia Selim
Guillaume Tell Walther Fürst
SHOSTAKOVICH
Lady Macbeth of Mtsensk Old Convict
The Nose Doctor and Clerk
STRAUSS
Elektra Oreste
TCHAIKOVSKY
Eugene Onegin Gremin
Iolanta King René
VERDI
Aida Ramfis
Attila title role
Don Carlo FilippoII and Inquisitore
Ernani Silva
La Forza del Destino Marchese di Calatrava and Padre Guardiano
Luisa Miller Walther
Macbeth Banquo
Otello Ludovico
Simone Boccanegra Fiesco
I vespri Siciliani Procida
Rigoletto Sparafucile
Nabucco Zaccaria
WAGNER
Der Fliegende Holländer Daland

ROLES UNDER PREPARATION
BARTÓK
Bluebeard’s Castle title
BELLINI
I Puritani Giorgio
La Sonnambula Rodolfo
DONIZETTI
Lucrezia Borgia Don Alfonso
Anna Bolena King Henry
OFFENBACH
Les Contes d’Hoffmann 4 Villains
WAGNER
Tristan und Isolde König Marke
Lohengrin König Heinrich
Tannhäuser Hermann
Die Meistersinger Pogner
ROSSINI
Mosè in Egitto title

CONCERT

BACH
B minor Mass
BEETHOVEN
Missa Solemnis
Symphony 9

DVORAK
Stabat Mater
Te Deum
HAYDN
Paukenmesse
JANACEK
Glagolithic Mass
MAHLER
Symphony No 8
MENDELSSOHN
Magnificat
MOZART
Coronation Mass
Requiem

MUSSORGSKY
Songs and Dances of Death
PROKOFIEV
Ivan the Terrible
RACHMANINOV
The bells
ROSSINI
Petite Messe Solenelle
Stabat Mater

SHOSTAKOVICH
Symphony 13 and 14
Michelangelo songs
Songs of the fool
Songs of the forest

STRAVINSKY
Pulcinella
VERDI
Messa di Requiem