Alexander Vinogradov

Introduction

Alexander Vinogradov made his debut at the Bolshoi Theater in Moscow at the age of 21. Since then he has established a remarkable career and has won numerous prizes in international singing competitions.

Mr. Vinogradov is a regular guest at the Deutsche Staatsoper Berlin and he has also performed with the Royal Opera House Covent Garden, Dresden Semperoper, Teatro Teresa Carreño, Caracas, Opera Bastille Paris, Palau de les Arts, Valencia, Teatro Real Madrid, Opera National de Paris, Théâtre du Châtelet, the City of London Festival, the Academy of St Martin in the Fields, Ravinia Festival, Baltimore Symphony and Chicago Symphony Orchestra as well as the Simon Bolivar Youth Orchestra, just to name a few.

This season’s highlights include him singing his signature role of Escamillo in Carmen at Teatro La Fenice, Sparafucile in Rigoletto and Sarastro in Die Zauberflöte at Teatro Regio Turin, da Silva in Ernani at Opera de Monte-Carlo, Mephistofeles in Faust at Atlanta Opera, a concert of Strauss songs with Nikolay Znaider and the Hallé Orchestra and Rachmaninov  the Bells with Kitajenko at Konzerthaus Berlin.

Looking ahead Alexander will sing Rachmaninov  the Bells with Kitajenko in Gothenburg, King Rene in Iolanta in Cologne, Beethoven's 9th Symphony with Zubin Mehta and the Israel Philharmonic Orchestra in Japan, the Bells with the London Philharmonic Orchestra, Colline in La Boheme for the Dallas Opera, Walter in a new production of Rossini's Guillaume Tell and Escamillo in Carmen at Royal Opera House Coven Garden.

 Highlights of the last season include the Glagolitic Mass with Sir Mark Elder and the Hallé Orchestra in San Sebastian, Shostakovich 13th Symphony at the Paris Opera with Philippe Jordan, Shostakovich 14th Symphony with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra, Beethoven’s 9th Symphony with Pittsburgh Symphony Orchestra and Shostakovich’s ‘Song of the Forests’ with Fundacion Principe de Asturias, Don Carlo and Eugene Onegin at the Teatro Regio di Torino and Attila (title role) at St Gallen Opera. Alexander has also recorded songs by Rachmaninoff with pianist Iain Burnside at Edinburgh’s Queens Hall on the Delphian label.

Mr. Vinogradov is also a recitalist much in demand having given recitals in Moscow, St Petersburg, Dresden, Berlin (Deutsche Staatsoper) and Jerusalem.
He continues to work with Svetlana Nesterenko.

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Die Zauberflöte Sprecher and Sarastro  
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Ponichielli
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Lucrezia Borgia Don Alfonso
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Symphony 9

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Stabat Mater
Te Deum

Mendelssohn  
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Schedule

Wiener Konzerthaus, Vienna

Franz Schubert Symphonie Nr. 1 
Leoš Janáček "Glagolitische Messe"

Ricarda Merbeth
Marina Prudenskaja
Torsten Kerl
Alexander Vinogradov
Wiener Singakademie  
Wiener Symphoniker
Philippe Jordan

Wiener Konzerthaus, Vienna

Franz Schubert Symphonie Nr. 1 
Leoš Janáček "Glagolitische Messe"

Ricarda Merbeth
Marina Prudenskaja
Torsten Kerl
Alexander Vinogradov
Wiener Singakademie  
Wiener Symphoniker
Philippe Jordan

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Press

Rachmaninov

The Bells

Konzerthaus Berlin

"Aber auch die exzellenten Solisten, allen voran Bassist Alexander Winogradow, geben Anlass zu heller Verzückung." Christian Schmidt for Der Tagesspiegel

Bizet

Carmen

Teatro Carlo Felice

"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

Shostakovich

Symphony No 14, Naxos

Royal Liverpool PhilharmonicOrchestra, Petrenko

"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
"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
"The bass, Alexander Vinogradov, is outstanding" Andrew Clark for the Financial Tmes

Verdi

Ermani

Opera de Monte Carlo

"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
"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
"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

Gounod

Faust

Atlanta Opera

"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

Rachmaninov

Songs

Delphian CD

"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

Verdi

Attila

Festspiele St. Gallen

"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

Shostakovich

Babi Yar

Opera Paris Bastille

"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

Tchaikovsky

Eugene Onegin

Teatro Regio di Torino

"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
"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
"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

Shostakovich

14th Symphony

Royal Liverpool Philharmonic Orchestra

"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
"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

Faust

Opera de Montreal

"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

Il Barbiere di Siviglia

San Diego Opera

"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

The Bells

Danish Radio Symphony / Vasily Petrenko

"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

Carmen

Teatro la Fenice

"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

Romeo et Juliette

Palm Beach Opera

"...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

Norma in Concert

Deutsche Staatsoper Berlin

"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

Romeo et Juliet

Teatro alla Scala

"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

Tsar's Bride

Royal Opera House Covent Garden

"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

Recordings

Rachmaninov Songs

Evelina Dobraceva Soprano 
Ekaterina Siurina Soprano 
Justina Gringyte Mezzo-Soprano 
Daniil Shtoda Tenor 
Andrei Bondarenko Baritone 
Rodion Pogossov Baritone 
Alexander Vinogradov Bass 
Iain Burnside Piano
Delphian Records