Press review. D. Shostakovich “Lady Macbeth Of The Mzensk District”. Opera Bastille, Paris

“The voice of Pavel Chernokh (Sergei) is so clear and tranquil, unlike the solid, powerful basses of Dmitry Ulyanov, who plays a tyrant, and the old convict Alexander Tsymbalyuk, whose cry spill the beans  on the eternal suffering of Russian people.”

– Christian Merlin (Le Figaro, 08.04.2019)


“As in the Opéra National de Lyon in 2016, where Dmitry Chernyakov staged Lady Macbeth, lithuanian soprano Ausrine Stundyte is a magnetic Lady Macbeth, who knows how to ask and seduce, sting and kill with her flexible voice. The handsome Sergey (Pavel Chernokh) has a ringing, sensual, expressive tenor. In contrast to him – an impressive, stentorian Boris performed by Dmitry Ulyanov, whose brutality is softened by lyrical intonations. “

– Marie-Aude Roux (Le Monde, 08.04.2019)

” Lithuanian soprano Aushrine Studite, who has already successfully performed the same role in the Opéra National de Lyon three years ago, gives all of herself on stage, dying along with her heroine. Demonstrating her powerful voice, she plays the role of a determined woman who fights for freedom from family and social tyranny. She will face her terrible father-in-law Boris – Dmitry Ulyanov, who has a bright acting talent and a magnificent voice.

– Philippe Venturini (Les Echos, 18.04.2019)


“The role of sadist and  “phallocrat” (as Le Figaro writes) Boris Timofeyevich Izmailov sings Dmitry Ulyanov – soloists of the Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre, guest soloist of the Bolshoi Theatre. This is the fourth “Lady Macbeth” in his twenty-year career, although this opera is not staged very often. Warlikowski’s  decision is different from productions he took part the cinematic and psychological sharpness. “Krzysztof worked with us as a dramatic director, — says Ulyanov, — he stages setting psychologically,  maximizes animal passions. But this opera itself is unique. It changes from bright satirical moments from the grotesque, to lyrical and intimate, and even violently passionate. Only Shostakovich’s genius could have created this.” He sees and sings  his hero as a tyrant and a sadist, but not victim, although he tries to find something heartful even in this black temper. Warlikowski and Dmitry decided to recall of the Izmailov’s  youth — he was a glad-hander, played the guitar, steped up to women. But surprisingly, the listener is still on the side of Catherine, and not tormenting her father-in-law.”

– Helia Pevzner (Voices from all over the world, 10.04.2009)

Dmitry Ulyanov attracts the attention of viewers, creating an image of a more subtle than usual tyrannical father-in-law, Boris Timofeevich Izmailov. With his beautiful, powerful voice with a luxurious legato, he plays the role of an aging, but impulsive man (experiencing an indefinable attraction to his daughter-in-law and even in the scene of severe punishment of Sergey — eroticism). Dmitry amuses and scares the listener, creates an exciting attention, a portrait of a father who knows his son’s weaknesses. “

– Steeve Boscardin (resmusica.com)


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“Minor roles were all brilliantly taken – Dmitry Ulyanov again is a firm-toned and characterful Boris Timofeevich, John Daszak’s bright-toned Zinovy Borisovich had the right touch of nervousness and Alexander Tsymbalyuk was a rich-voiced police officer.”


– Nick Hammond (parisupdate.com)

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“Dmitry Ulyanov is repugnant, eminently poisonable Boris with fabulous low notes.”


– Shirley Apthorp (ft.com)


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“Dmitry Ulyanov plays the role of a lustful, despotic, aging father-in-law. He has a powerful bass, but can sing very delicate and melodiously.”


– Helmut Pitsch (O-Top, 20.04.2019)
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