Rodion Pogossov


Rodion Pogossov joined the Lindemann Young Artist Development Programme at the beginning of his early career. He regularly sings at the Metropolitan Opera New York and previous engagements there have included Il barbiere di Siviglia, Die Zauberflote and Don Pasquale.

Engagements this season and beyong include I Pagliacci at the Norske Opera, La boheme at the Metropolitan Opera, La boheme and Die Zauberflote with Cincinnati Opera. Concert performances include Faust et Helene with the Oslo Philharmonic Orchestra and Rachmaninov Spring Cantata with the Royal Liverpool Philharmonic conducted by Vasily Petrenko.

As a recording artist, his discography includes his solo recital disc for the prestigious EMI Debut Series which recieved great acclaim and was followed by a disc of Rachmaninov songs with pianist Iain Burnside, released in 2014.

 [This is not a biography and is for information only.  Please contact Sophie Robertson for an updated biography and performance schedule]

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News & Features



BELLINI I Puritani (Riccardo)
BELLINI Adelson e Salvini
BIZET Les Pecheurs des Perles (Zurga)
DEBUSSY Pelleas et Melisande (Pelleas)
DONIZETTI Don Pasquale (Malatesta)
DONIZETTI L'elisir d'amore (Belcore)
GOUNOD Faust (Valentin)
GOUNOD Romeo et Juliette (Mercutio)
LEONCAVALLO I Pagliacci (Silvio)
MASSENET Cherubin (Count)
MASSENET Werther (Albert)
MOZART Die Zauberflöte (Papageno)
MOZART Così fan tutte (Guglielmo)
MUSSORGSKY Boris Godunov (Shelkalov)
PUCCINI La Bohème (Marcello)
PUCCINI Manon Lescaut
ROSSINI Il Barbiere di Siviglia (Figaro)
ROSSINI Le Comte Ory
STRAUSS Die Fledermaus (Eisenstein)
TCHAIKOVSKY Eugene Onegin (Onegin)
TCHAIKOVSKY Pique Dame (Yeletsky)
TCHAIKOVSKY Iolanta (Robert)
VERDI Falstaff (Ford)


BACH Solobasskantaten "ich habe genug", Kreuzstabkantate
BACH Johannespassion
BACH Matthäuspassion
BRAHMS Requiem
FAURE Requiem
HAYDN Schöpfung
MAHLER Des Knaben Wunderhorn
MAHLER Lieder eines fahrenden Gesellen
MOZART Mass in C minor
MOZART Krönungsmesse
ORFF Carmina Burana
POULENC Chansons Gaillardes
RACHMANINOV Spring Cantata
SCHUBERT Winterreise
SCHUBERT Messe in C-Dur
SCHUBERT Messe in G-Dur
SCHUMANN Dichterliebe

Please contact Sophie Robertson for a full repertoire list.

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Media Player


    Pagliacci, Den Norske Opera




Adelson e Salvini

Fondazione Pergolesi Spontini

' Le baryton d’origine russe Rodion Pogossov en exprime toute la noblesse, chaleureuse dans l’amitié, douloureuse quand il découvre la trahison. A une voix bien timbrée et à une diction de l’italien très soignée il joint un engagement scénique convaincant car éloigné de toute emphase. L’emphase, c’est justement ce qui caractérise Salvini, le peintre qui s’est épris de son modèle.'

Maurice Salles, Forum Opera, 13 November 2016

'Più convincenti proprio per l’immedesimazione nei personaggi le altre due voci basse, l’Adelson di Rodion Pogossov e il Bonifacio di Clemente Antonio Daliotti. Il baritono russo infatti trova la giusta cifra stilistica nel rendere con un fraseggio appropriato il carattere dell’inglese altolocato ma comprensivo, fin dalla sortita Obliarti? Abbandonarti?, nella quale i sentimenti per Nelly si manifestano con aristocratica posatezza, in giusto contrasto con l’irruenza di Salvini. Simili considerazioni per i duetti con Salvini e Bonifacio al secondo e terzo atto, improntati sempre a una nobiltà di accento che non però scade mai nella freddezza.'

Domenico Ciccone, Opera Click, 15 November 2016


La bohème

Metropolitan Opera Company

'The company of bohemians — the Serbian David Bizic as Marcello, a painter; the American Ryan Speedo Green as Colline, a philosopher; and the Russian Rodion Pogossov as Schaunard, a musician — were particularly satisfying in the individuality of their characterizations as well as in their work as an ensemble.'

James R. Oestreich, New York Times, 29 September 2016

'The musician Schaunard, as the only performing artist in this gang of four, is called upon (especially in this production) to hop on tables, strike attitudes, and wave baguettes like conductor’s batons, all of which baritone Rodion Pogossov did with panache.'

David Wright, New York Classical Review, 29 September 2016


Le comte Ory

Seattle Opera

'Rodion Pogossov was a stylish, energetic Raimbaud...' Melinda Bargreen, Seattle Times, 8 August 2016
'Convincente l’interpretazione di Rodion Pogossov come Raimbaud, non solo per la precisa e divertente presenza scenica, ma per la facilità nell’emissione. Dotato di un timbro ricco e armonico, Pogossov sia nel primo atto, ma ancor più nel secondo con la sua Aria Dans ce lieu solitaire esibisce sicurezza e incisività articolatoria, precisione ed espressività.' Viviana Coppo, Opera Click, 6 August 2016


Carmina Burana

Royal Festival Hall

'Altogether more intrinsic with the music, Rodion Pogossov was as amorous and debauched as necessary, and he sung consistently well across a range of requirements, not least when straying into the bass register or higher into the tenor one (and in falsetto).' Colin Anderson, Classical Source, June 2016


Adelson e Salvini


'Rodion Pogossov’s Struley, [was] nicely managed... Tim Ashley, The Guardian, 12 May 2016
'...Rodion Pogossov made a classy, spruce villain out of Colonel Struley...' Yehuda Shepiro, Opera Magazine, July 2016


Il barbiere di Siviglia

Fondazione Teatro della Fortuna

"Rodion Pogossov è un Figaro guascone e sfacciato tanto nell’emissione quanto nella presenza scenica, perfettamente a suo agio nel ruolo e forte di una vocalità estesa e sicura, con un buon dominio della coloratura….[La] prova offerta dal baritono russo… stata di buonissimo livello." Domenico Ciccone, Opera Click, 12 March 2016
"Rodion Pogossov è un Figaro mobilissimo e versatile con l'ironia e l'aspetto del comico televisivo Ficarra, è un barbiere atletico che tiene la scena con grande padronanza del palcoscenico e gestisce in modo appropriato una voce baritonale estesa e flessibile..." Giosetta Guerra, Associazione Musicale Mario Tiberini,12 March 2016


La boheme

Michigan Opera Theatre

"As Marcello, baritone Rodion Pogossov sounded fine..." George Bulanda, Detroit News, 19 October 2015,
"As the on-again, off-again lovers Musetta and Marcello, the creamy-voiced Marina Costa-Jackson and spirited Rodion Pogossov made an attractive pair." Mark Stryker, Detroit Free Press, 20 October 2015
"Baritone Rodion Pogossov as Marcello, the painter, has wonderful stage presence also, with his comedic and serious acting done with equal craft...wonderful performances, especially of ...Mr. Pogossov". David Kiley, Encore Michigan, 18 October 2015

Napa Valley Festival: 22 July 2015

Castello di Amorosa

"Rodion Pogossov, on the other hand, had no need for any amplification. The moment he opened his mouth out came a tidal wave of formidable sound. As Onegin, he was the perfect embodiment of the Byronic hero: confident, authoritative, and mysteriously aloof". Alice Zhang, GB Opera, July 2015


Cosi Fan Tutte

Spoleto Festival

"Altrettanta sicurezza vocale ed eccellente fraseggio quella del baritono russo , Rodion Pogossov nel ruolo di Guglielmo...con una invidiabile voce “in maschera” ".
Carlo Vantaggioli, Tuttoggi, 27 June 2015
"Rodion Pogossov ... est ici émouvant, drôle, charmant. Sa voix scintillante et pleine, son sens du timing comique font, paradoxalement, ressortir le sérieux du rôle". Élisabeth Schneiter, ResMusica, 3 July 2015


Barber of Seville

Los Angeles Opera

Pogossov brings robust baritone authority to his Figaro as he manipulates the various escapes that pervade the opera’s plot. Jim Farber, Los Angeles Daily News, 3 March 2015
Baritone Rodion Pogossov, who was the Papageno in Los Angeles Opera’s 2013 presentation of The Magic Flute, was a robust Figaro who convinced the audience that his presence was irreplaceable. Maria Nockin, Opera Today, 5 March 2015
Russian Rodion Pogossov sang the title role. He portrayed Figaro as a dapper but good-natured clever cogs with just enough manly swagger. Eager to facilitate Almaviva’s romantic rescue of Rosina, Pogossov marshaled his light and rather lovely baritone through the mind-boggling difficulties of the role Jaime Robles, Bachtrack, 3 March 2015
Pogossov, whose Los Angeles debut was as Papageno in the Barrie Kosky production of Mozart’s “Magic Flute”, showed mastery of the rapid “patter” of opera buffa comic arias that comprises the latter part of the iconic aria. Opera Warhorses, 1 March 2015
If the effervescence of Rodion Pogossov’s dapper Figaro could be bottled, no one would need Cava or Prosecco (we’re in Spain, after all, with music by an Italian). Honestly, this Russian baritone can move with the grace of Astaire and the charm of Chaplin. Jane Rosenberg, The International Review of Music, 2 March 2015
The Figaro of Rodion Pogossov was new to me and his singing, which started at very good, only get better as the evening progressed. It almost seemed that with each new number and its particular set of challenges, the bar was placed just a tad higher each time. He’s a supple comedian on the stage and he had a matador’s cape flourish in the last scene that I don’t think anyone present will be able to forget for a long time. It’s a beautiful rich baritone sound with an easy top and not only was his diction superb but he knows how to land a punchline even if he is speaking a language foreign to the majority of the audience. Patrick Mack,, 2 March 2015


Rachmaninov Disc

Delphian Records

'Vinogradov, Bondarenko and Pogossov perfectly suited in their different ways to the Chaliapin-inspired ‘Sudba’ (‘Fate’), Op 21 No 1, ‘Voskresheniye Lazarya’ (‘The Raising of Lazarus’), Op 34 No 6, and ‘Ty znal evo’ (‘You knew him’), Op 34 No 9.' 
Gramophone Magazine, April 24 2014


The Magic Flute

Los Angeles Opera

The Papageno of Rodion Pogossov was a wall-to-wall pleasure.  With a silky, powerful baritone and comic presence that was able to outpunch even the most distracting animated effects, he embodied the bird-catcher as silent comedy hero and took us on a joy ride of an evening. Jane Rosenberg, Seen and Heard International, 24 November 2013
The Russian Rodion Pogossov plays Papageno in a low-key humorous, Chaplinesque style. He is a kind of everyman who wants simple pleasures of eating and romance and is not too involved in the rituals. He is adorably followed around by a spunky animated cat. A true talent, his lovely baritone is accompanied by his clever physical expression.  Georja Umano/Gerald Everett Jones, LA Splash, 24 November 2013
'Rodion Pogossov, a sweet slapstick Papageno'
Mark Swed, LA Times, 25 November 2013
Brownlee and Pogossov prove ideal as the opera’s contrasting heroes, Tamino (the seeker of wisdom) and Papageno (the seeker of earthly pleasure, who throughout the opera is accompanied by a wonderfully loyal cartoon feline). Brownlee possesses an ideally bright Mozartean tenor that works beautifully in tandem with Pogossov’s resonant baritone. Jim Farber, Press Telegram, 26 November 2013
The star of the show was Russian baritone Rodion Pogossov as Charlie Chaplin sans moustache, aka Papageno. Mr. Pogossov’s postures were pure Chaplin, vocally he was much more richly endowed than the usual Papageno. He was a warm, abstractly human silent film character (who incongruously sang) aided in no small way by the complete absence of the usual Schikaneder (Flute’s playwright) imposed schtick. Michael Milenski,, 25 November 2013
Still, the cast onstage could not be faulted. Rodion Pogossov, as the guileless fool Papageno and here a Buster Keaton type, had the best shot at exercising human physicality; in his earthy gold suit and flattened, slouchy hat to match, hands often in pockets, he ambled about, his voice a most pleasing, warm baritone.
Donna Perlmutter, LA Observed, 4 December 2013


Così fan tutte

Metropolitan Opera

Mr. Pogossov made a robust-voiced and volatile Guglielmo. He really cut loose in the sputtering aria “Donne mie” (“Dear ladies”), a denunciation of all women with their capacity for deception. This Guglielmo really meant it. Anthony Tommasini, NY Times, 25 September 2013
The Russian baritone Rodion Pogossov adds a solid performance as Guglielmo. Wilborn Hampton, The Huffington Post, 25 September 2013
The young Russian baritone Rodion Pogossov revealed a shimmering, even voice and sharp comic timing. James Jordan, New York Post, 25 September 2013
Again, if pushed to choose, there is a clear favourite: Rodion Pogossov’s Guglielmo. Pogossov acts brilliantly, can come close to being absolutely hilarious, yet sings with a melting lyricism when required; his brief “Non siate ritrosi” from the first act was the perfect exemplar.
Colin Clarke, Seen and Heard International, 24 April 2014
The two lovers, Ferrando and Guglielmo, sung by Matthew Polenzani and Rodion Pogossov, were clear-voiced and sure-footed... Pogossov was dashing and witty in the role Guglielmo and his warm, inviting tone exuded masculinity. Melanie O'Neill, The Examiner, 27 April 2014


Barber of Seville

Teatro Municipal de Santiago

El barítono ruso Rodion Pogossov, perfiló de manera estupenda la singular personalidad de Fígaro, se desplaza con desplante y gracia; su manejo vocal, así como en lascoloraturas, es impecable; su momento más exitoso fue sin duda su aria “Largo al factotum”, cantada en forma arrolladoramente perfecta, aunque también fueron notables su intervenciones en dúos y concertatos. Gilberto Ponce Vera, Visiones Criticas, 21 June 2013


Carmina Burana

Royal Festival Hall

The three soloists all delivered fine performances, with the Russian baritone Rodion Pogossov suitably youthful and lusty.  Chris Garlick, Bachtrack, 09 April 2013


Don Carlo

Hamburgische Staatsoper

Read the interview with Rodion Pogossov about his performance as Posa in Don Carlo at the Hamburgische Staatsoper Mittelloge Opera Magazine


The Barber of Seville

Metropolitan Opera, New York

Rodion Pogossov’s hearty Figaro and John Del Carlo’s blustering Bartolo were perfectly pitched for this conception. Steve Smith, New York Times, 23 December 2012


The Barber of Seville

Michigan Opera Theatre

...the leading role is played by dashing Moscow- born baritone Rodion Pogossov who recently performed in this role at the Metropolitan Opera in New York. His voice is wonderful and seems effortless-reminds us at times of Bryn Terfel and at others of Jim Morrison. But what stunned the MOT audiences is that Pogossov not only sings, he also tap dances, juggles and walks on his hands. This guy is a performer, and the audience loved him. Patty Nolan, The Examiner, 14 Oct 2012
Pogossov commanded the stage from his first entracne, zipping in on a scooter, singing the famous 'Largo al factotum'...Pogossov has a rich, clear voice, marrying warm colour, supple phrasing and pinpoint diction. When you combine his musicianship with the grace, timing and expressive gestures of a born comedic actor, you've got a world-class Figaro. Mark Stryker, The Free Press, 15 Oct 2012


L'elisir d'amore

Glyndebourne Festival

..More rewarding is the Sergeant Belcore of Russian baritone Rodion Pogossov, who brings the cocksure ladykiller to life in a performance of flamboyant macho panache..

The Stage, June 10 2011

...Rodion Pogossov's Sgt Belcore (who made his Festival debut after his unforgettable Guglielmo in the 2006 Tour's Cosi fan tutti): Apart from his brilliantlyblazing voice (a given) he's pretty good at thight slapping and his long riding boots look great...

Sussex Express, June 13 2011



Rachmaninov Songs

Evelina Dobraceva, Ekaterina Siurina (sopranos), Justina Gringyte (mezzo-soprano), Daniil Shtoda (tenor), Andrei Bondarenko, Rodion Pogossov (baritones), Alexander Vinogradov (bass) & Iain Burnside (piano)

Catalogue No: DCD34127
Release date: 10th March 2014
Barcode: 0801918341274

Delphian Records

Carmina Burana

CARL ORFF: Carmina Burana

Hans Graf conductor
Sarah Tynan soprano
Andrew Kennedy tenor
Rodion Pogossov baritone
London Philharmonic Orchestra & Choir
Trinity Boys Choir
Neville Creed, Gillian Plummer chorus masters
Pieter Schoeman leader

Song Recital

Antonio Caldara, Antonio Cesti, Christoph Willibald Gluck, Edvard Grieg, Gustav Mahler, et al