Dmitri Hvorostovsky

1962 – 2017


Siberian baritone Dmitri Hvorostovsky established an extraordinary international career, performing at the most prestigious opera houses, concert halls, and festivals of the world. His distinctive voice, incomparable legato, breath control, and stage presence, firmly cemented his repuation as one of the finest singers of the century.

It is with great sadness that we announce the passing of Dmitri Hvorostovsky on Wednesday 22 November after a two and a half year battle with brain cancer.

It has been a great joy and an honour for our colleagues to have worked with Dmitri over the past three decades, and he will be sorely missed. Our thoughts are with Dmitri’s family and friends.

Farewell, Dima. Rest in Peace.


From The Green Room


  • 25 Sep 15 VERDI Il Trovatore
    Metropolitan Opera
    More info  

    Hvorostovsky was also greeted with thunderous applause upon his first appearance on stage, a showstopping moment that literally forced conductor Marco Armiliato to put down his baton and join in the clapping. From then on, the baritone did his utmost to reward the audience’s admiration. There were times in past performances of this role when one would hear the Russian baritone push his voice uncomfortably through the opening act trio, but this time he was in complete control, comfortable with the heavy demands of Verdi’s lines.

    His approach to the role was more finessed and delicate, his Conde di Luna a regal and suave man in the early going with a propensity to lose his temper and unleash his fury; at these moments Hvorostovsky’s more delicate timbre would transform into a more aggressive and coarse quality that suited Luna’s polar extremes.

    David Salazar, Latin Post

    Mr. Hvorostovsky gave a gripping performance as Count di Luna. There was little need to take what he has been going through into account. His resplendent voice, with its distinctive mellow character and dusky veneer, sounded not at all compromised. He sang with Verdian lyricism, dramatic subtlety and, when called for, chilling intensity as the complex count, who, in this production, with its Goya-inspired imagery, is the brash leader of the Royalist Aragon troops at a time of bloody civil war in Spain.
    Anthony Tommasini, NY Times

    The big story of the night was the appearance of Dmitri Hvorostovsky, who had been diagnosed with a brain tumor and canceled all of his summer performances. The ovation that he received was ended only after he finally stopped it by raising his arms and gesturing for quiet. Scheduled here for the first three performances in this fall run, he exhibited no signs whatsoever of distress or deterioration. On the contrary, he was in excellent voice.
    Fred Kirshnit, Classical Source 

    “…a passionate rendition that showcased his spiced caramel tone and arching, seemingly endless phrases that have made him one of the most treasured baritones of his generation. If the emotion of the evening was getting to the Russian baritone, he didn’t show it—in this portrayal he was mostly collected, sure of purpose even in his flashes of rage.”
    Eric C. Simpson, The Classical Review

    Earlier this year when the Met announced its 2015-16 season, the fall revival of Verdi’s Il Trovatore looked pretty routine– except the first US Leonoras of reigning diva Anna Netrebko. Few would have predicted that Friday night’s prima would turn out to be one of the most thrilling—and moving–performances heard at the house in many a season.  […] When he did first appear from out of the shadows in the middle of the second scene, a huge roar went up from the packed audience and conductor Marco Armiliato stopped the music and joined in the jubilant applause himself. A clearly moved Hvorostovsky basked in the moment and momentarily broke character to acknowledge the love.

    Toward eleven o’clock during the final bows, the cheering house rose en masse when the Siberian baritone loped onstage for his solo bow. The thundering roar continued for several minutes as he gestured his thanks to the audience. After the remainder of the cast and the conductor had appeared, groups bows ensued until the irrepressible Armiliato pushed Hvorostovsky out of the line for another solo bow and, in a stunning coup, several dozen white roses were flung onto the stage from the pit by members of the orchestra. Trovatore is not usually an opera that elicits tears, much less by its di Luna, but on Friday evening many in the theater, including an otherwise radiant Netrebko, were seen openly weeping.

    Christopher Corwin, Parterre

    Still, the performance on Friday was dominated, triumphantly, by Dmitri Hvorostovsky, 52, who returned to the romantically evil, nobly melodic stances of il Conte di Luna. Back in June, he announced that he had suffered a brain tumour and would undergo treatment in London. Yet here he was, for three performances at least, looking vital, singing heroically and acting — yes, acting — with unexpected degrees of expressive intensity. When he made his entrance, the house erupted.  Even the conductor applauded. The baritone beamed, clutched his heart and took a bow. Three hours later, at his curtain call, the orchestra showered him with white roses.

    Hvorostovsky never was a singer intent on exploring subtle dynamic shades. He always capitalised, however, on warm, rolling tone, breathless legato control and natural magnetism. He certainly did all that here, and deserved every clap and bravo.

    Martin Bernheimer, Financial Times

  • 01 Jun 14 Recital
    Koerner Hall
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    “Dmitri Hvorostovsky walked on stage Sunday evening to the kind of ovation most star singers would be surprised to hear at the end of a performance. No question, this London-based Siberian baritone was a hero in the eyes and ears of the Russian speakers who packed Koerner Hall.
    Such a reception entails a standard to uphold, which he did handily. The almost-all-Russian recital presented by the Show One organization brought powerful tone and confident deportment strikingly into focus. Think of a lion roaring, again and again.”
    Arthur Kaptainis. National Post

  • 19 May 14 Recital
    Ordway Centre for Performing Arts, St Paul
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    “Perhaps some imagine that singer Dmitri Hvorostovky’s stardom is the result of his handsomeness and swagger, but his Schubert Club recital Monday night showed that he’s earned all he’s achieved honestly. For an almost all-Russian recital, the silver-maned Siberian baritone filled every seat at St. Paul’s Ordway Center (and each available standing-room-only spot) before he filled the room with his pure, powerful, deep and expansive voice.”
    Rob Hubbard. Twin Cities

  • 22 May 14 Recital
    Dorothy Chandler Pavilion
    More info  

    “It was magnificent — a mesmerizing recital by a supremely elegant and charismatic singer.”
    Mark Swed. LA Times 

  • 19 Apr 14 Verdi La Traviata
    Royal Opera House Covent Garden
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    “Dmitri Hvorostovsky, in superb voice”
    Tim Ashley for The Guardian

    “Dmitri Hvorostovsky returned to the role of Giorgio Germont, and gave an astonishingly assured performance – his rendition of ‘Di Provenza’ was an object lesson in how to sustain a Verdian line.”
    Keith McDonnell for Whats on Stage

    “With his trademark rich baritone, Dmitri Hvorostovsky’s Giorgio Germont commands the stage […] and his Act II encounter with Violetta is one of the highlights of the evening”
    Sam Smith for MCNH

    “Hvorostovsky received his first round of applause, rock-star style, for the mere fact of having walked onto the stage. His Act Two aria was delivered with beautiful full tone.”

    Sebastian Scotney for The Arts Desk

  • 01 Jan 11 Opera January 2011
    Metropolitan Opera
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    The baritone Dimitri Hvorostovsky, left, and the bass Ferruccio Furlanetto in “Simon Boccanegra” at the Metropolitan Opera House.

    On Thursday night “Simon Boccanegra” returned to the Met as Verdi intended it, with a baritone in the title role, and a great one: Dmitri Hvorostovsky. With his distinctive dark vocal colorings, the Siberian-born Mr. Hvorostovsky is not a classic Italianate baritone. But this role ideally suits him, and he was a magnificent Simon.

    Mr. Hvorostovsky sang with dusky, melting beauty and shaped Verdi’s long, arching phrases, especially at softer dynamics, with consummate lyricism, often taking whole lines in a single breath.[…] vocally and dramatically he made this role his own.”

    Anthony Tommasini for the New York Times January 2011