"Alexey Dolgov impressed with ardent, unforced vocalism as Cassio"

 

Mike Silverman for Associated Press

"Strong support, and further excellent character work, comes from Alexey Dolgov as innocent Cassio and Eduado Valdes as the red-blooded Roderigo." Simon Parris for Simon Parris: Man in Chair

"L’interprétation est excellente grâce à une distribution solide. Alexey Dolgov est un Tamino crédible et appliqué en apprenti, léger et tendre en amoureux"

Channel Riviera

"Alexey Dolgov as Pinkerton was easily the most accomplished of the singers. He is athletic of voice and movement with an appropriately dashing stage presence. Amore o grillo was eloquently delivered, with a voice lighter than usual but decidedly secure in his presentation."

Jack Buckley for Seen and Heard International.

"Sängerisch besitzt der Abend hohes Niveau, [...] makellose Tenor von Alexey Dolgov geben den Senatoren hinreichend Statur"

Martin Wilkening for Berliner Zeitung

"As Amenaida’s father Argirio, tenor Alexey Dolgov showed a clear fresh well lined up lyric tenor voice with a good high C"

Lorenzo Bassi for GB Opera

"Argirio verkörpert mit ansehnlichem Tenor Alexey Dolgov. Ihm sind alsbald dankbarere Rollen zu wünschen."

Klaus Geitel fir Berliner Morgenpost

"And in the leading roles, Susan Graham, Laura Claycomb, Christine Goerke and Alexey Dolgov each meet the unique demands with distinction.[...]As Bacchus, Alexey Dolgov's gleaming tenor and easeful nobility make his 11th-hour arrival as Ariadne's rescuer seem a natural conclusion rather than a dramatic non-sequitur."

Everett Evans for Houston Chronicle

"An exceptionally charismatic Pinkerton, Alexey Dolgov crafts a very believable young man – flawed, likable and, when it comes time, convincingly remorseful. With naturalness and superb timing, Dolgov keeps what can be a stiffly delivered role living, breathing and fresh. Add to that a compellingly virile tenor with some very satisfying high notes and this was a Pinkerton who left us wanting more. " Kate Wingfield for Metro Weekly

"Fortunately, Ms. Naglestad is aided by a marvelous supporting cast. A big hat tip to handsome Russian tenor Alexey Dolgov who, ironically, sings the role of Pinkerton, the original Ugly American. With a cocksure swagger and a clear, confident, authoritative voice, Mr. Dolgov at once inhabits this self-assured Yank, while also understanding his essential shallowness. As an actor, Mr. Dolgov also shines in the opera’s final scenes. Projecting his character’s emotional cowardice with considerable skill, his performance adds further weight to the tragedy of Butterfly’s final scene." Terry Ponick for Washington times

"Alexey Dolgov's Pinkerton was a cad, but with a faint heartbeat detectable from the start, which made the remorse at the end palatable. The tenor's gentle shading of the line "Bimba, bimba, non piangere" was a highlight of the evening. " Tim Smith for Baltimore Sun

"Le jeune ténor russe Alexey Dolgov joue bien ce Devereux équivoque, la voix est bonne et même raffinée". Claude Gingras for La Presse

"Dolgov [...] made his debut outside Russia a mere three years ago.  He’s a star on the rise" Alan Conter for Globe and Mail

"The Russian Tenor Alexey Dolgov, was the sensational vocal event of the evening bar none. Mr. Dolgov came into the sight-line of COMMANDOpera last year while researching a Mariinsky theatre related article. The young tenor has only recently begun to essay roles in the past few years in Russia, and immediately became noticed across Europe, and naturally the Houston Grand Opera has nailed him in for three consecutive seasons including 2011. If Miss Netrebko would be watching for which other magnificent Russian artist would breakout to surpass her achievement’s, it is unquestionably found in the form of this tenor. The platinum timbre of Mr. Dolgov’s instrument is of the most top tier calibre. To rival this artist, Mr. Kauffman or Mr. Calleja would be obliged to bring their A game to the table: nothing less. End of story. Mr. Dolgov’s battery of technical artillery is already formidable, and there is no question of the technique which underlines each and every turn Mr. Dolgov takes. Whether in solo, duet, trio, or ensemble, Mr. Dolgov’s instrument soars through each with apparent ease. The torture this artist painted with the air ‘Ed ancor la tremenda porta’ left the listener bereft with anguish. When Mr. Dolgov floated the phrase ’in braccia a morte’ with the softest pianissimo heard at the back of the theatre, it was all over. Maestro Pavarotti in his younger days owned an instrument which could reduce any man to tears given a sheer dramatic beauty within his singular instrument. While Mr. Dolgov enjoys his own uniquely timbered instrument, it owns that same and precise emotive quality within hitherto known only to Maestro Pavarotti. COMMANDOpera advises anyone who follows this art form to take in something of Mr. Dolgov if the opportunity presents itself at some point down the road. This is an instrument of first consequence". COMMANDOpera

"There were no grounds for second-guessing in the case of Alexey Dolgov, a clarion Russian tenor, as Roberto." Arthur Kaptainis, Montreal Gazette

"Als Cassio lies Alexey Dolgov mit angenehmen Timbre der gesund und voll klingenden Stimme aufhorchen. Es wäre nicht das erste Mal dass ein Tenor über den Cassio den internationalen Durchbruch schafft". 

"Alexey Dolgov made you prick up your ears with his enjoyable timbre and full sounding voice. It would not be the first time that a Tenor would have his international breakthrough singing Cassio."

Christoph Broermann for Opernnetz

"Auch die kleineren Rollen waren optimal besetzt. Insbesondere gefiel der Cassio von Alexey Dolgov mit seiner schlanken gut sitzenden Tenorstimme"

"The smaller roles were perfectly cast. With his lean and well fitted tenor voice, Alexey Dolgov's Cassio was a particularly appealing portrayal".

IOCO

"Dass auch Cassio und Ludovico mit zwei Russen, dem betörend Lyrischen Tenor Alexey Dolgov und dem sonoren Bass Stanislav Shvets erstklassig besetzt waren versteht sich ohnehin. "

"It goes without saying that with Cassio and Ludovico, the beguiling tenor of Alexey Dolgov and the sonorous bass of Stanislav Shvets were a first class cast, "

Bernd Aulich for Recklinghäuser Zeitung

"Alexey Dolgov, Christina Daletska[..] und Stanislav Shvets rundeten ein Sängerensemble ab, das  sich durch Geschlossenheit auf höchster Ebene auszeichnete." 

"Alexey Dolgov, Christina Daletska[..] und Stanislav Shvets excelled through their unity on the highest level"

Loll Weber for Luxemburger Wort

"Alexey Dolgov gestaltete den Cassio mit seiner leicht dahinfliessenden Tenorstimme"

"Alexey Dolgov portrayed Cassio with his easy mellifluous tenor. "

Marc Fielder

"Erwähneswert der Belcato-fähige Cassio Alexey Dolgovs"

Alexander Dick for Badische Zeitung

"Alexey Dolgov’s lyric tenor is perfectly cast as Lensky." Richard Fairman for the Financial Times

"Alexey Dolgov sings Lensky’s aria of lost youth and love quite wonderfully. " Edward Seckerson for the Independent

"The lead roles were all beautifully sung [...] Alexey Dolgov (Lensky) and Margarita Mamsirova (Olga) providing excellent support." William Hartston for the Daily and Sunday Express

"Alexey Dolgov’s  bright-toned Lensky is a match for Monogarova and Kwiecien’s fine interpretations."  Rupert Christiansen for the Telegraph

"I liked the allocation of Monsieur Triquet's song to Lensky: it made dramatic sense and it was beautifully rendered by Alexei Dolgov, whose nuanced characterisation – dramatically as well as vocally – was exemplary." Agnes Kory for MusicaCriticism.com

"Monogarova’s beautifully sung, persuasively acted Letter Scene is a high point, as is Alexei Dolgov’s delivery of Lensky’s aria."  Barry Millington for the Evening Standard

"Alexey Dolgov sings with warm lyricism and projects gallant presence as romantic artist Cavaradossi [...] Dolgov's bright, pleasing tenor and natural acting add up to a fine Cavaradossi. I especially like the maturation he achieves after his suffering at the hands of Scarpia. By Act 3, Dolgov conveys a new depth, investing his impassioned farewell to life (and Tosca) with soulful beauty." Everett Evans for The Houston Chronicle

"Alexey Dolgov matches Racette in every department, giving a passionate, powerful and unabashedly romanticized portrayal of Cavaradossi. "Recondita armonia" immediately establishes his prowess among the cast, and his confident portrayal of the doomed painter is touching indeed. The lovers' two big duets in the outer acts are glorious, the voices feeding off each others' power and flexibility and blending wonderfully in their a capella "Trionfal...di nova speme." Marcus Karl Maroney for concertonet.com

"Dolgov acquits himself best, gunning with flair through this tenor’s night out, between the deliciously bookended arias Recondita armonia in Act I and E lucevan le stelle in Act III."v John DeMers for houstonartsweek