"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 for Opera Britannia

"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 for La Presse Montreal

"The cast included the Russian bass Alexander Vinogradov making a splendidly dark sound as Méphistophélès"
Arthur Kaptainins for 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 for 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

"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 for Opera News

"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

"...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

"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

"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

"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