Dmitry Belosselskiy

Introduction

Dmitry Belosselskiy is one of the most exciting basses of his generation, taking the operatic world by storm, equally celebrated by audiences and critics.
In 2016-17 Dmitry’s highlights include a tour of Asia and Moscow with La Scala (Simon Boc-canegra/Verdi Requiem), his return to the Metropolitan Opera for Aida conducted by Marco Armiliato and Nabucco conducted by James Levine, Calixto Bieito’s production of Boris Godu-nov (title role) at the Bayerische Staatsoper, Onegin at the Lyric Opera of Chicago, Don Carlo at Maggio Musicale Fiorentino conducted by Zubin Mehta, Beethoven’s 9th Symphony with the Or-chestre National de France, conducted by Christoph Eschenbach, and a new production of Aida at the Salzburg Festival conducted by Riccardo Muti.
He has already established a remarkable career and has performed at the world’s finest opera houses and concert venues, including  Metropolitan Opera New York, Teatro alla Scala, Salz-burger Festspiele, Deutsche Staatsoper Berlin, Wiener Staatsoper, Opera de Paris, Chorégies d'Orange, Maggio Musicale Fiorentino, Opernhaus Zurich, Teatro dell’Opera di Roma, Theater an der Wien, Washington National Opera, Canadian Opera Company Toronto, Palau de les Arts Reina Sofia, and Bayerische Staatsoper Munich. He has also appeared with the London Phil-harmonic Orchestra, the Chicago Symphony Orchestra, as well as on the stages of Avery Fisher Hall, New York, Harris Theater, Chicago, John Hancock Hall Boston, Philharmonie Luxemburg, Wiener Konzerthaus, Gewandhaus Orchester in Leipzig, Macau International Music Festival, Seoul Arts Center, Palm Beach Opera and Bregenzer Festspiele.
Dmitry has worked with many leading conductors including Riccardo Muti, Zubin Mehta, Daniel Barenboim, Riccardo Chailly, Vladimir Spivakov, Yuri Bashmet, Vladimir Fedoseyev, Marco Armiliato, James Levine, James Conlon, Jan Latham Koenig, Ion Marin, Thomas Sanderling, Jesus López-Cobos, Riccardo Frizza and Mikhail Pletnev.

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News & Features

Repertoire

Bartók
Bluebeard's Castle title role

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Norma Oroveso


Berlioz
La Damnation de Faust Méphistophélès

Cherubini

Medea King Creon


Borodin

Prince Igor Vladimir Yaroslavich


Puccini

Turandot Timur

Glinka
Ruslan and Lyudmila Ruslan


Mozart

Don Giovanni Commendatore


Mussorgsky

Boris Godunov title role

Khovanshchina Iwan Khovansky


Rachmaninoff

Francesca da Rimini Lanceotto


Rimsky-Korsakov

The Tsar’s Bride Malyuta Skuratov

Rossini

Stabat mater
Messe Solennelle

Shostakovich

Lady Macbeth of Mtsenk Old Convict


Tchaikovsky

Iolanta King Rene

Eugene Onegin Gremin


Verdi

Aida Ramfis

Macbeth Banquo

Nabucco Zaccaria

Simon Boccanegra Fiesco

Attila title role

La Battaglia di Legagno
Federico Barbarossa
Il Trovatore Ferrando

Don Carlo Filippo II

Rigoletto Sparafucile

Ernani Da Silva

La Forza del destino Marchese di Calatrava
Messa di Requiem

 

ROLES UNDER PREPARATION

Strauss

Der Rosenkavalier Ochs

Wagner

Tristan und Isolde König Marke
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    Lady Macbeth of Mtensk

Schedule

Lyric Opera of Chicago, CHICAGO

TCHAIKOVSKY: Eugene Onegin

Conductor: Alejo Perez
Original Director: Robert Carsen
Revival Director: Paula Suozzi

Onegin: Mariusz Kwiecie
Tatiana: Ana María Martínez
Lensky: Charles Castronovo
GREMIN: DMITRY BELOSSELSKIY

Lyric Opera of Chicago, CHICAGO

TCHAIKOVSKY: Eugene Onegin

Conductor: Alejo Perez
Original Director: Robert Carsen
Revival Director: Paula Suozzi

Onegin: Mariusz Kwiecie
Tatiana: Ana María Martínez
Lensky: Charles Castronovo
GREMIN: DMITRY BELOSSELSKIY

Lyric Opera of Chicago, CHICAGO

TCHAIKOVSKY: Eugene Onegin

Conductor: Alejo Perez
Original Director: Robert Carsen
Revival Director: Paula Suozzi

Onegin: Mariusz Kwiecie
Tatiana: Ana María Martínez
Lensky: Charles Castronovo
GREMIN: DMITRY BELOSSELSKIY

Lyric Opera of Chicago, CHICAGO

TCHAIKOVSKY: Eugene Onegin

Conductor: Alejo Perez
Original Director: Robert Carsen
Revival Director: Paula Suozzi

Onegin: Mariusz Kwiecie
Tatiana: Ana María Martínez
Lensky: Charles Castronovo
GREMIN: DMITRY BELOSSELSKIY

Lyric Opera of Chicago, CHICAGO

TCHAIKOVSKY: Eugene Onegin

Conductor: Alejo Perez
Original Director: Robert Carsen
Revival Director: Paula Suozzi

Onegin: Mariusz Kwiecie
Tatiana: Ana María Martínez
Lensky: Charles Castronovo
GREMIN: DMITRY BELOSSELSKIY

Lyric Opera of Chicago, CHICAGO

TCHAIKOVSKY: Eugene Onegin

Conductor: Alejo Perez
Original Director: Robert Carsen
Revival Director: Paula Suozzi

Onegin: Mariusz Kwiecie
Tatiana: Ana María Martínez
Lensky: Charles Castronovo
GREMIN: DMITRY BELOSSELSKIY

Lyric Opera of Chicago, CHICAGO

TCHAIKOVSKY: Eugene Onegin

Conductor: Alejo Perez
Original Director: Robert Carsen
Revival Director: Paula Suozzi

Onegin: Mariusz Kwiecie
Tatiana: Ana María Martínez
Lensky: Charles Castronovo
GREMIN: DMITRY BELOSSELSKIY

Lyric Opera of Chicago, CHICAGO

TCHAIKOVSKY: Eugene Onegin

Conductor: Alejo Perez
Original Director: Robert Carsen
Revival Director: Paula Suozzi

Onegin: Mariusz Kwiecie
Tatiana: Ana María Martínez
Lensky: Charles Castronovo
GREMIN: DMITRY BELOSSELSKIY

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Press

Verdi

Aida

Metropolitan Opera

' Dmitry Belosselskiy boomed healthily as Ramfis' Martin Bernheimer, Financial Times
'Turning a comprimario role into a highlight, Dmitry Belosselskiy was superb as the high priest Ramfis, sporting a deep, robust voice with gristly tone.' Eric C Simpson, New York Classical Review

VERDI

NABUCCO

Civic Opera House, Chicago

“Dmitry Belosselskiy has similar panache as the prophet Zaccaria, etching the character powerfully with his rich, resonant bass. The lowest pitches essential in the first scene were as solid as the upper-range ones in the second-act prayer ‘Tu sol labbro’.” James L. Zychowicz, Seen and Heard
“As Zaccaria, the Russian bass Dmitry Belosselskiy showed why he is a rising artist to watch. He possesses a smooth, unforced voice, beautifully modulated and elegantly reassuring.” Nancy Malitz, Chicago on the aisle
“Dmitry Belosselskiy’s huge voice was shaded by an appealing darkness. Zaccaria, as a character, isn’t gifted with much of a range of action or emotion, but Belosselskiy’s singing was nevertheless always characterful and dramatically interesting.” Dan Wang, bachtrack
“Belosselskiy's deep, full, saturnine bass was just what was needed for Zaccaria, a stern Old Testament prophet in voice and bearing.” John von Rhein, Chicago Tribune

Verdi

Giovanna D'Arco

Teatro alla Scala

'Impeccabile il Talbot di Dmitry Belosselskiy' Ugo Malasoma, Operaclick
'Bene anche il Talbot di Dmitry Belosselskiy' Pietro Gandetto, L'ape Musicale

Tchaikovsky

Eugene Onegin

Houston Grand Opera

'Prince Gremin is not the hero of Tchaikovsky’s Eugene Onegin. He only appears in one scene. He only sings one aria. As the wealthy old man Tatyana settles for, Prince Gremin is wallpaper in the plot at best. [...]  I thought there was a balance issue with the orchestra until Dmitry Belosselskiy entered as Prince Gremin and belted out the most incredible aria of the night. [...] What a shame that Belosselskiy, who also performs the small role of Angelotti in HGO’s concurrently running Tosca, does not have larger parts. His bass voice gently folds you in a warm embrace that, incredibly, then locks you in. Tremendous yet seriously tender, his five-minute aria about loving Tatyana filled the hall and – indeed, as the libretto reads – set happiness afire.' Sydney Boyd, Bachtrack
'As did the utter standout Russian bass Dmitry Belosselskiy, who plays Tatyana’s eventual husband, Prince Gremin. This is a man whose potent and utterly arresting voice you can feel deep in your spine. Call me a cultural chauvinist, but there’s also simply nothing like Russian sung by a native speaker,' Joseph Campana, Houston Culture Map
'But it’s Belosselskiy who commands the audience’s share of applause with his one shining aria, his Act III paean of praise for his wife, Tatyana. Instead of descending scales, this one moves up, in perfect harmony to his words that “love knows no age...she shines like a star...she’s an angel.” It’s truly one of Tchaikovsky’s most elegant and heartfelt love songs, and Belosselskiy’s chasm-deep bass etches the aria with genteel grace and an almost blessed gratitude. If any husband ever needs an aria to show his depth of feeling for his wife, this is the one. Of course, you’d need someone with Belosselskiy’s smooth phrasing and complete control to do it justice.' D. L. Groover, Houston Press

Modest Petrovich Mussorgsky

Khovanshchina

Wiener Staatsoper

"Als mächtiger Fürst Iwan Chowanski brillierte Dmitry Belosselskiy." E. Hirschmann-Altzinger for OE24
"...ergänzen das Ensemble perfekt, in das sich zwei Debütanten glänzend einfügen: Dimitri Belosselskiy ist der sonor achtungsgebietende Fürst Chowanksi,..." Wilhelm Sinkovicz for Die Presse

Verdi

Nabucco

Arena di Verona

'Tonight's alpha males provided a pair of captivating performances. Dmitry Belosselskiy's Zaccaria was dignified in white beard and priestly garb with all the golden trimmings, resounding with solemnity as he conferred blessings on throngs of Israelites in a rounded, oaken voice' James Imam, Bachtrack
'Molto bene anche lo Zaccaria di Dmitry Beloselsky, che parte in sordina - a causa dell'umidità -, ma si riprende nel corso della rappresentazione, con begli accenti e notevole presenza scenica.' Andrea R G Pedrotti, Ape Musicale
'Dmitry Beloselsky, come già alla prima, tratteggia uno Zaccaria solenne e carismatico. Il ruolo gli è noto e lo doma senza problemi, riscuotendo anch'egli un franco successo' Andrea R G Pedrotti, Ape Musicale
'Lo Zaccaria di Dmitry Beloselsky si distingue per la ieraticità degli accenti e la tornita brunitura del timbro' Alessandro Cammarano, Operaclick

Verdi

Ernani 20 March 2015

Metropolitan Opera

'Bass Dmitry Belosselskiy relished his opportunity to showcase Silva as more than a rotten villain. From his outset, he showcased Silva as a hurt man, every phrase in his singing ringing with the suffering of old age and rejection. His Silva was not afraid to dial down the aggression when offering his hospitality to Ernani or promising him protection. And he was especially delicate in his directives toward Elvira. But as the night wore on and everyone one of his plans was undone, he grew more vicious and Belosselskiy's voice became more pointed and accented in its phrasing. By the end, he was nothing if not a demon, his anger and hating completely destroying any signs of the pitiful old man. In the fatal moment, with both Elvira and Ernani lying on the floor dying and reaching for each other, he stood in between their arms, a mocking smile on his face. The trio is a rather wondrous piece of music, with Verdi consistently evolving and modifying the central melody to suit the different dramatic circumstances. When Silva comes to the fore, the orchestration includes woodwinds, thus giving the music a sarcastic quality. Belosslskiy embraced this cynicism, his voice almost laughing at the lovers.' David Salazar, The Latin Post
'As Silva, the bass Dmitry Belosselskiy sang with sturdy sound and earnest dignity.' Anthony Thomasini, The New York Times
'Dmitry Belosselskiy...turned in a stellar performance as the vengeful duke de Silva, the very ideal of a scorned noble. He has a booming cavern of a voice, but is more accurate and more defined than many basses of his stripe–no barking or “talk-singing” creep into his work. When he finally came to enforce Ernani’s dreadful oath, he brought with him the voice of doom.' Eric C Simpson, New York Classical Review
'Bass Dmitry Belosselskiy was convincingly sinister and produced an appropriately dark sound as Silva.' Barry Bassis, The Epoch Times
'The cast was dominated by Dmitry Belosselskiy, a Ukrainian bass who enhanced the evil stances of Silva with dignified restraint. He sang powerfully, with dark, rich, rolling tone and fine expressive focus.' Martin Bernheimer, Financial Times

Shostakovitch

Lady Macbeth of Mtensk

Metropolitan Opera

"Another standout was Dmitry Belosselskiy, as the convict in the final scene who sings of the prisoners’ despair, as “Mile after backbreaking mile drag by in endless procession. Ah, you road of bitter suffering, road of blood, road to Siberia! Chains have worn you, tears have watered you, ghastly moans forever haunt you.”" Laura Genero, The American Spectator
"Dmitry Belosselskiy stood out as the nameless old convict, his cavernous voice serving to ground the final act. " Eric C Simpson, New York Classical Review
"But in a cast where everyone stands out, Very, Mikhail Kolelishvili as the priest, Vladimir Ognovenko, Dimitry Belosselskiy and Oksana Volkova as Sonyetka, a saucy convict who catches Sergei's ceaselessly roving eye, demand mention." David Finkle, Huffington Post
"Exceptionally worthy cameos were contributed by Mikhail Kolelishvili (a basso-blustery quasi-priest), Vladimir Ognovenko (a compellingly corrupt policeman) and Dmitry Belosselskiy (a crusty old convict)." Martin Bernheimer, Financial Times

Verdi

Aida

Metropolitan Opera

"Most impressive at the Met were the two basses in the smallest of the major roles. As the high priest Ramfis, Dmitry Belosselskiy unleashed power, but with a smoky roundness to his tone; his voice was never merely loud."

Zachary Woolfe, New York Times

"Another strong bass, Dmitry Belosselskiy channelled both wisdom and menace into Ramfis."

Eric C Simpson, New York Classical Review
"...bass Dmitry Belosselskiy made mighty noises as the haughty high priest Ramfis" James Jorden, New York Observer
"The production had two notable basses: Soloman Howard in his debut at the Met as the king of Egypt and Dmitry Belosselskiy as Ramfis" Barry Bassis, The Epoch
"better are two powerful young basses, Dmitry Belosselskiy and Soloman Howard, in smaller roles." New York Times

Beethoven

Symphony No.9

Gewandhaus on Tour

"und ein Solistenquartett, aus dem der Bass Dmitry Belosselskiy stimmlich herausragt." Tom Hellat for Der Bund
"Allerdings gab das mit (...) und Dmitry Belosselskiy homogen besetzte Solistenquartett diesem Monumentalgemälde unforciert berührende menschliche Züge." Urs Mattenberger for the Neue Luzerner Zeitung

Verdi

Nabucco

Choregies d'Orange

"la voix de la basse Dmitry Beloselskiy donne à Zaccaria, le Grand Prêtre des Hébreux, un lyrisme et une ferveur saisissantes, d’une constance inébranlable dans ses différents airs." Fabrice Malkani for ForumOpera

Verdi

Simon Boccanegra

Staatsoper Berlin

"Doch auch die dunklen Partien sind großartig besetzt. Dmitry Belosselskiy verleiht dem Jacopo Fiesco mit hartem Bass eine Unnachgiebigkeit, die bis zum bitteren Ende verhindert, dass Fiesco mit Boccanegra Frieden schließen kann" Thomas Molke for Online Musik Magazin
"Umringt ist er bei dieser Aufführung von einer besonders hochkarätigen Herrenriege. Dazu gehört als „Newcomer“ Dmitry Belosselskiy. Viril und prägnant gibt er den Jacopo Fiesco, von Stimme und Haltung ein wahrer Adliger. Ein Stolzer, der spürbar hassen kann, sich aber nicht dazu verleiten lässt, seinen vermeintlichen Widersacher Simon im Schlaf zu töten. All’ das beweist er bestens mit seinem klaren, ausdrucksstarken Bass."
Ursula Wiegand for the Online Merker
"Dmitry Belosselskiy, in particular, brought a voice of great depth to Fiesco, whose cold determination in the prologue offered a stark contrast to Boccanegra’s peaceful pleas." Jesse Simon for Mundoclasico.com

Verdi

Rigoletto

Houston Grand Opera

" bass Dimitry Belosselskiy, also in his HGO debut, growled and threatened chillingly"

D.L. Groover for Houston Press
"Dmitry Belosselskiy’s mammoth bass voice resulted in a commanding, unrelenting Sparafucile" Marcus Karl Maroney for Concertonet.com

Verdi

Don Carlo

Bolshoi Theater

"Bass Dmitry Beloselsky, vocally and physically imposing, proved a near-perfect King Phillip." Raymond Stults for the Moscow Times

Verdi

Nabucco

Salzburger Festspiele

"Della compagnia va salutato come il migliore il basso Dmitry Beloselskiy interprete di Zaccaria: possente, disciplinatissimo, musicalissimo, ha fatto passi da gigante rispetto alla sua interpretazione di Fiesco nel Boccanegra dell'anno scorso." Corriere della Sera
Und Dmitry Belosselskiy hielt ebenso mit wie Bass-Bariton-Kollege Zeljko Lucic in der Titelrolle, der Russe und der Serbe agierten in vorderster “Italien-Front” Salzburg24
"Mächtig, würdevoll in der Deklamation und facettenreich im Timbre gab Dmitry Belosselskiy den Hohepriester der Hebräer Zaccaria." Heidemarie Klabacher for Der Standard
"Nicht austauschbar jedoch die Herren: So ist Zeljko Lučić ein hervorragender, extrem profunder Nabucco, der in dem fantastischen Bassisten Dmitry Belosselskiy (als Zaccaria) einen eindringlichen Gegenspieler findet." Der Kurier

Verdi

Verdi Requiem

Salzburger Festspiele

"Und Dmitry Belosselskiy, der am wenigsten bekannte Sänger, war der Beste: mit seinem sonoren, ausdrucksstarken Bass traf er den Requiem-Ton ideal. Das Publikum war tief ergriffen und applaudierte besonders lange." Der Kurier
"Dmitry Belosselskiy ist ein klug gestaltender Prachtbass" OVB online
"Das nobel tragfähige Bassfundament lieferte Dmitry Belosselskiy dazu." Die Presse

Verdi

Attila

Theater an der Wien

"Dmitry Belosselsky als Attila protzt und prangt mit seinem starken, dunklen Organ" Eleonore Büning for Frankfurter Allgemeine Zeitung
"Dmitry Belosselsky hat die Stimmstärke eines Attila, aber auch die Intelligenz, Phrasen fein zu gestalten!" OÖNachrichten
"Mit machtvollem Bass dominierte Dmitry Belosselsky als Titelheld das vokale Niveau. Von seiner zündenden Cabaletta durfte er leider ebenso nur eine Strophe singen wie der virile Bariton George Petean" Kleine Zeitung
"Dmitry Belosselsky ist ein stimmlich markanter und präsenter Attila," Judith Belfkih for Wiener Zeitung
"Zumal sich auch die Solisten profilieren. So ist der russische Bass Dmitry Belosselsky ein mächtiger, profunder, wohlklingender Attila, der auch darstellerisch keine Wünsche offen lässt." Wiener Kurier
"Sympathisch dagegen der warme Bariton von Dmitry Belosselsky in der Titelrolle." Bernhard Doppler for der Tagesspiegel
"Virilen, kernigen und ein wenig brachialen Verdi-Gesang lassen Dmitry Belosselsky als Attila und George Petean als Ezio hören" Stefan Musil for Die Presse
"...dafür punkteten George Petean als Ezio und Dmitry Belosselsky in der Titelpartie." Jörn Florian Fuchs for Deutschlandradio

Verdi

Don Carlo

Maggio Musicale Fiorentino

"Dmitry Belosselskiy, a baby-faced Filippo II with the voice of a basso profondo. The Russian singer displayed a perfectly equalized, thundering, rich instrument that sounded torrential even in the infamously poor acoustics of the Teatro Comunale. He displayed an impeccable passaggio di registro that produced an easy, powerful top. An almost imperceptible crack on a B flat (the first note of the final ‘Ella giammai m’amò’) did nothing to spoil one of the best sung renditions of this iconic aria I have ever heard. His interpretation of one of the most challenging roles of the entire bass repertoire is for the moment still a little generic and did not show too much individuality. He tends to favour the menacing and grim personality of the King, while giving less emphasis to his more pathetic, grieving and tortured side. Nonetheless, Belosselskiy is still a young singer and will grow into the role. And in any case a very well sung Filippo has become a rarity these days."
Nicola Lischi for Opera Britannia
"Dmitry Beloselskiy era Filippo II: commovente  nella  grande scena desolata “Ella giammai m’amò”, forte nel duetto col tremendo Inquisitore" Mario Dal Bello for Citta Nuova

Bellini

Norma

Washington National Opera

"A delightful surprise in this production was the forceful, authoritative, yet surprisingly supple voice of bass Dmitry Belosselskiy. Key to both the opening and closing scenes of Norma, Mr. Belosselskiy’s Oroveso embodies the type of stalwart leader that his cohorts will readily respect and faithfully follow. Mr. Belosselskiy demonstrates his powers primarily through the impressive quality of his commanding voice—one of those superbly deep, yet never gravelly bass voices for which Russian singers alone seem to hold the exclusive patent." Terry Ponick for Washington Times
"Dmitry Belosselskiy as Oroveso resounds with authority." Gary Tischler for the Georgetowner
"Dmitry Belosselskiy, who sang Norma’s father, Oroveso, seems to be embarking on a big-league career, and to judge from his full authoritative singing in the second act, he deserves it." Anne Midgette for Washington Post
"Dmitry Belosselskiy, as Norma’s father, was stunning vocally and physically impressive.  This rich bass voice is placed forward and feels wonderfully present and expressive. With simple economy of means, such as a hand pressed over his heart when the man faces the toughest choice a father can face in meeting out justice upon his own daughter, Belosselskiy demonstrated he is a true singer-actor who can carry strong roles.[...] Angela Meade with Russian bass Dmitry Belosselskiy and Tenor Rafael Davila cranked that sound to a most glorious fortissimo, the size of which rang that opera house in a way I’d never heard before." Susan Galbraith for DC Theatre Scene
"Norma’s father and chief priest Oroveso, as sung by Russian bass Dmitry Belosselskiy, was an austerely commanding presence with a deeply resonant bass possessed of heroic overtones. His spear-shaking rage, however, was touchingly softened at the opera’s end upon hearing the pleas of his ruined daughter. Belosselskiy’s acting here was none of the fist-biting nonsense that has become the stuff of opera parody; he was a man broken open by unforeseen circumstances." Greg Marzullo Washington Blade
"Dmitry Belosselskiy (Oroveso) begins the opera in a mature, powerful bass that is as clear as a bell even from the back of the stage."
Jessica Vaughan for DC Metro Theater Arts
"As Oroveso, Norma's father, the Russian bass Dmitry Belosselskiy sang with imposingly firm and appealing tone." Mike Silverman for News Times

"As Oroveso, Dmitry Belosselskiy reveals a bass with uncommon muscle and elegance."

Tim Smith for The Baltimore Sun

"and bass Dmitry Belosselskiy are especially memorable as Adalgisa and Norma’s father"

Mike Paarlberg for Washington City Paper

Verdi

Il Trovatore

Canadian Opera Company Toronto


Dmitry Belosselskiy is superbly capable in the fifth main role, that of Ferrando, the count’s captain.
Michael Johnson for concertonet
Bass Dmitry Belosselskiy stood out as Ferrando among the supporting characters.
Arthur Kaptainis for National Post

Cherubini

Medea

Palau de les arts Valencia

"...while Ukrainian bass Dmitry Beloselsky, a luxury cast in the role of Creonte, impressed." José Irurzun for Seen and Heard
"Dmitri Beloselski war ein eindrucksvoller Creonte."


Thomas Migge for Klassik Info
"Whereas Creonte by Dimitr Beloselski shows again another young Russian bass with good potential."
Opera Online

Verdi

La Battaglia di Legnano

Opera di Roma

"In den Hauptrollen, insgesamt eine stimmlich homogene und gelungene Besetzung, sangen Dmitriy Beloselskiy (Barbarossa)...."

Thomas Migge for Klassikinfo

Borodin

Prince Igor

Opernhaus Zurich

"Dmitry Belosselsky gefiel als Galitzky vor allem mit einem kernigen Forte"
Neue Zürcher Zeitung
"Bass-Entdeckung: der raumgreifende Dmitry Belosselskiy als Fürst Galitzkij, das Ekelpaket, das Igors Statthalter abgibt"
Badische zeitung

Verdi

Nabucco

Opera di Roma

"bass Dmitry Beloselsky sings imposingly as the Hebrew high priest Zaccaria."

George Loomis for New York Times
"Dmitry Beloselskiy è uno Zaccaria dalla voce un po' chiara ma limpida, ferma, omogenea in tutti i registri, non un profeta biblico tonitruante ma un uomo del suo popolo."

Mauro Mariani for giornale della musica
"Dmitry Beloselskiy è un giovane Zaccaria (ma nella radice del nome ha Belo, curiosa coincidenza) con voce ben timbrata e di giusto colore; espressivo in “Come notte a sol fuggente”, che contiene il primo riferimento all'impeto libertario (“Ne' tuoi servi un soffio accendi che dia morte allo stranier”)."

Francesco Rapaccioni for teatro.org

Iolanta and Francesca da Rimini

Theater an der Wien

"Die beeindruckendste Leistung bot an diesem Abend Dmitri Belosselski: als König René und Lanceotto. Belosselski hat die Partie schon bei der erwähnten konzertanten Aufführung im Konzerthaus gesungen. Bereits damals war sein kräftiger, etwas rauher Bass positiv aufgefallen. Er sang den Lanceotto mit mächtigem Grimm und gab auch einen gesangesgewaltigen Vater Iolantas."

Dominik Troger for Oper in Wien
"Dem Theater an der Wien ist es wieder gelungen, hervorragende, noch junge Sänger nach Wien zu holen. Man merkte deutlich die russische Sängerschule, bei der die Technik perfekt sitzt und den Sängern freien Lauf bei der musikalischen Gestaltung lässt. Das war besonders bei Dmitry Belosselsky zu beobachten, der den König René und Lanceotto Malatesta verkörperte und mit einer gewaltigen, manchmal ein bisschen zu bremsenden Stimme und unerbittlich intensivem Ausdruck beide Rollen hervorragend gestaltete."

OÖNachrichten
"Überwiegend Erfreuliches von den unteren Registern: Dmitry Belosselsky (René/Malatesta) verströmte eine etwas vordergründig orgelnde, aber bis auf die tiefsten Töne wirkungsvoll profunde Bassautorität"

Walter Weidringer for Die Presse
"Großteils gewinnend dafür die Sängerschaft: Dmitry Belosselsky (König René, Lanceotto) besitzt die vokale Durchschlagskraft eines Panzerbrechers"

Christoph Irrgeher for Wiener Zeitung
"Excellent doublé également pour la basse Dmitry Belosselsky, superbe figure de père tragique dans Iolanta, mari en proie à une incroyable démence jalouse dans Francesca."

Clément Taillia for Forum Opera
"Una compagnia di canto interessante, dominata dalla voce superba, sonora ed espressiva del basso Dmitry Belosselsky ( Re René e  Malatesta)."

Angela Martin for GB Opera

Nabucco

Florida Grand Opera

"Despite his youth, the Ukrainian bass Dmitry Belosselskiy brought Old Testament gravitas to the role, holding the stage with the ponderous authority appropriate to a ancient religious leader. [...] his voice was sumptuous and resonant in arias such as Vieni, o Levita. Although the role of his Babylonian opposite number, the High Priest of Baal, is a smaller one, the bass Harold Wilson was an effective vocal counterpart."

David Fleshler for South Florida Classical Review

Macbeth

Salzburg Festival

"Festspielwürdige Besetzung: Dmitry Belosselskij, der die Partie des Banquo singt, trägt einen Christusbart und einen marienblauen Mantel über der Rüstung: Er ist die verkörperte höhere Gerechtigkeit. Seine sonore Stimme strotzt vor diesseitiger Männlichkeit, versprüht Wärme, Glanz und Leben."

Eleonore Büning for Frankfurter Allgemeine
"vor allem der wunderbare, als Banquo viel zu früh versterbende Dmitry Belosselskiy sind Belcantisten reinsten Wassers. Idealbesetzungen in Mutis Klangtheater also."

Merkur
"Dmitry Belosselskiy war ein wunderbar timbrierter, sorgfältig intonierender Banquo."

Hans-Klaus Jungheinrich for Kölner Stasdtanzeiger and Berliner Zeitung
"Dmitry Belosselskiy made a strong Banquo"

John von Rhein for Chicago Tribune
"Dmitry Beloselskiy is a Banquo to be reckoned with. An appealing and sonorous timbre with a resilient and unusually easy top, coupled with an imposing stage presence make him an undoubted asset in any Verdi production."

Moore Parker for the Opera Critic
"Buono, anche se in alcuni momenti un po' generico, il Banquo consapevolmente disilluso di Dmitry Belosselskiy."

Alessandro Cammarano for Operaclick
"Dmitry Belosselskiy è un Banco che unisce la morbidezza di emissione alla perentorietà dell’accento, e in cui un’estensione da autentico basso si accompagna a una singolare limpidezza timbrica"

Paolo Patrizi for Drammaturgi
"Dmitry Belosselskiy est un Banquo impeccable"

Monique Barichella for Alta Musica
"There was exemplary work from Giuseppe Filianoti (Macduff) and Dmitry Belosseslskiy (Banquo)"

Rupert Christiansen for the Telegraph
"Dmitry Belosselskiy ist ein sehr solider, klangschöner Banko"

Stefan Schmöe for Online Music Magazin
"Banquo (volltönend salbungsvoll: Dmitry Belosselskiy)"

Manuel Brug for Die Welt
"Ebenfalls auf hohem Niveau sang Dmitry Belosselskiy als Banquo"

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