Tenor
Pavel Valuzhin
Represented by
Represented by
Harry Ogg/Péter Halász, Conductor
Andreas Homoki, Stage Director
Stefano Ranzani, Conductor
Christine Mielitz, Stage Director
Harry Ogg/Péter Halász, Conductor
Andreas Homoki, Stage Director
Duke of Mantua Rigoletto cover at the Metropolitan Opera, Prince Gvidon The Golden Cockerel at Komische Oper Berlin, Faust Mefistofele and Lensky Eugene Onegin at Staatsoper Hannover, Duca Rigoletto at Theater Basel, Rodolfo La Boheme at Semperoper Dresden, Staatsoper Stuttgart, Royal Danish Opera, Alfredo La traviata at Staatsoper Stuttgart and Deutsche Oper am Rhein in Düsseldorf, tenor solo Beethoven no. 9 at the Cemal Reşit Rey Concert Hall, Istanbul.
The title role of Gounod’s Faust, Duke of Mantua Rigoletto, Pinkerton Madama Butterfly, Alfredo La Traviata with Staatsoper Stuttgart, Rodolfo La Boheme, Ivan Lykov The Tsar’s Bride, and the Duke of Mantua Rigoletto at the Bolshoi Theater Moscow, Alfredo La Traviata at the Basel Theater and in the Antibes, Theater Bonn, Duke of Mantua Rigoletto for Deutsche Oper Berlin, Opera de Toulon, Teatro Colon Buenos Aires, Volksoper Wien, and the Bregenzer Festspiele. [* cancelled]
Che gelida manina
Puccini - La Bohème
Che gelida manina
Puccini - La Bohème
Pavel Valuzhin as Duca in Rigoletto Duet with Gilda: Addio, addio...
Pavel Valuzhin as Duca in Rigoletto Duet with Gilda: Addio, addio...
Duet of Romeo and Juliet
Tchaikovskiy
Duet of Romeo and Juliet
Tchaikovskiy
Ella mi fu rapita
Verdi - Rigoletto
Ella mi fu rapita
Verdi - Rigoletto
Pavel Valuzhin als Herzog von Mantua überzeugt mit einer Stimme, welche die Lebensfreude und auch das Leiden aufs schönste auszudrücken vermag. Kraftvoll in seinen berühmten Arien und voller Leidenschaft im großen Duett. Hier hat man einen Sänger, der in dieser Rolle auch darstellerisch überzeugt.
The tenor Pavel Valuzhin played a sympathetic duke. He posseses a lyrical voice with a clear timbre and good projection. He made his opening aria “Questa o quella” sound joyful and easy despite the challenging nature of tessitura; the tempi were quite fast but he managed to coronate the aria with a ringing B flat. He then proved that he could sing beautiful legato lines in a high tessitura during his duet with Gilda in Act one, and ascended effortlessly, and in one breath, to the B flats on the difficult line “d’invidia agli uomini,” emitting a secure top high D flat at the end of the scene on “Addio!” His interpretation of his second act aria “Ella mi fu rapita…parmi veder le lagrime” was sung with delicacy, beautiful mezza voce, and decrescendos, and navigated the passagio quite well after having done a couple of pushups, handstands, and other major physical challenges demanded by the staging. His cabaletta “Possente amor mi chiama” was strong and energetic. He sang a playful “La donna è mobile” in Act three although he did not sang the traditional cadenza ending in a top B natural, instead singing the written low B (He had no problem with high notes, so I doubt this was the singer’s choice). He easily managed the high tessitura of the quartet “Bella figlia dell’amore,” delivering several ringing B flats.,
Pavel Valuzhin gibt den Herzog von Mantua mit perfekter Technik und langem, langem Atem.
Pavel Valuzhin versah den Lenski mit so schönen und feinen Tönen, dass es das Herz rührte. Sein Lenski ist ein junger, überschwänglicher Mann voller Verletzlichkeit. Auch hier konnte ich nur hingerissen zuhören.
Pavel Valuzhin possède l’aplomb sans histrionisme d’un rôle qu’il allonge d’un « e di pensier » final particulièrement généreux.
... Pavel Valuzhin, unites robustness and sensitivity for an interpretation that emphasizes musicality rather than braggadocio