Press review. “Lady Macbeth Of The Mzensk District”. SALZBURG FESTIVAL 2017

 “The Lady Macbeth did star Nina Stemme, but on August 10 she was indisposed and replaced by Evgenia Muraeva, a product of the Maryinsky vocal atelier. She had been cast as Aksinya, but as Katerina she seemed well rehearsed and sang well, if perhaps not with Stemme’s reported level of desperate passion. Brandon Jovanovich made a strong handsome Sergey, Dmitry Ulyanov was the properly scary Boris, Maxim Paster his wimpy son and Ksenia Dudnikova a slutty Sonyetka. Jason and the Vienna Philharmonic sounded a little staid, but did unleash some grinding, angry outbursts.”

 

— John Rockwell (“Opera Magazin”, October 2017. opera.co.uk)


Old man Izmaylov interpreted by Dmitry Ulyanov embodies an evil spirit of the place and even the satirical specks of the famous aria about old age set off the mystic character of overwhelming power trying to subdue every corner of the gigantic urban beehive to its ominous aura. The singer uses a rich palette of vocal and theatrical colors to depict totalitarian lust for power with its infernal savagery. No wonder that this interpretation was crowned with success even with the fastidious Salzburg audience: it burst into a thunderous applause.”

 

–  Alexander Kurmachov (belcanto.ru)

 

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“Excellent in his role of Boris Timofeyevich Izmaylov was Dmitry Ulyanov, constructing his character skillfully balancing on the border between grotesque and drama….”

 

(operaexplorer.com)

 

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“For the whole evening and for every character, the direction pof the actors was in fine detail. Dmitry Ulyanov played Boris as a despotic patriarch and father-in-law, suffering from a nervous fetish for disinfectant spray, his bass voice flowing darkly: he showed that on an opera stage, it’s possible to make death from rat poison into a thing of elegance.”

 

– Isabella Steppan (bachtrack.com)

 

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“Giving his festival debut as Boris, Dmitry Ulyanov cut a nasty vainly-sadistic tyrant, constantly stroking back his hair and toting a wooden switch to underscore his authority. While vocally absolutely adequate, a notch more weight and snarl to the timbre would, nevertheless, not have gone amiss.”

 

 Moore Parker (theoperacritic.com) 

 

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“The most outstanding among a dozen soloists is Dmitry Ulyanov in the role of the lascivious old man Boris Izmailov  – the evil Patriarch with an impressive bass and a flexible image of aging male prejudice.”

 

– Frieder Reininghaus (nmz.de)

 

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