A significant event took place on the 6th of February 2018 on the stage of Tchaikovsky Moscow State Conservatory: The State Symphony orchestra of the Republic of Tatarstan under conducted by Alexander Sladkovsky performed the immortal Verdi’s “Requiem “. The soloists made the evening particularly bright: Dmitry Ulyanov sang the part of bas , soprano – Veronika Dzhioeva, mezzo-soprano – Ekaterina Semenchuk, tenor – Hovhannes Ayvazyan. The soloists shared their successes with the magnificent choir – The Sveshnicov State Academic Russian Coir and The Grand Choir “Masters of Choral Singing”.
Soloists, choir and orchestra sounded as one, and they, undoubtedly, won the hearts of sophisticated Moscow audience.
«The orchestra and both choirs performed equally well. All the four singers renowned all over the world with a crowded schedule and wide-ranging repertoire invited by Sladkovsky met the challenge. Dmitry Ulyanov stood out among these celebrities with his superb mastery»
– Leyla Guchmazova (Russian Newspaper, 08.02.2018)
«Aria of the bas Confutatis maledictis sounded as contrast. The public expected from Dmitry Ulyanov with his powerful true Russian bas wide Protodeacon colors. But the bow velvet cantilena was unexpectedly supplemented in all solo remarks and ensembles of bas with European intelligence and some rationality. The text the presented Ulyanov was so sensible, as if he had his in a pocket the book of Thomas Aquinas.
Finally, all four singers united in the marvelous Lacrimosa. The song-simple tune was so dear to Verdi, he used it in the sorrowful duet of King Philip and Don Carlos, father and son, over the body of the murdered Rodrigo, often reduced when staging an opera.
The performance reached the zenith, the critic was silent inside, and, obeying the name of the part, the tears flowed by themselves.»
– Tatiana Elagina (Classical music news.ru)
“The bass of the soloist of the Moscow Academic Music Theatre of Stanislavsky and Nemirovich-Danchenko Dmitry Ulyanov – is distinguished by the smoothness, balance of the voice, the fullness of sound and the tenderness of the soft colors that is so rare for bass. “Quiet mastery” is the term best suite to define his performance, fully aware (even in Verdi’s music) of the difference between opera and oratorial genres …»
– Maria Zalesskaya (Musical life, February 2018)