Onegin who steals the spotlight ... exquisitely rounded voice, radiating warmth in its tone, and a phrasing in which every word, every emotion, is imbued with just the right color and nuance...
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Robert Jindra, Conductor
Barbara Wysocka, Stage Director
Robert Jindra, Conductor
Barbara Wysocka, Stage Director
Marcus Merkel, Conductor
Günter Krämer, Stage Director
Robert Jindra, Conductor
Barbara Wysocka, Stage Director
Robert Jindra, Conductor
Barbara Wysocka, Stage Director
Robert Jindra, Conductor
Barbara Wysocka, Stage Director
Nardo La Finta Giardiniera at Theater an der Wien, the solo parts in the world premiere of the contemporary operas D/Faced and Haut at Deutsche Oper Berlin, the title role Eugene Onegin with the Verbier Festival and Ekaterinburg, debut as Enrico Lucia di Lammermoor in Basel Theatre, debut as Belcore L'elisir d'amore at Bregenzer Festival, debut as The Count Le Nozze di Figaro at Glyndebourne festival, as well as Traveler B. Britten’s Curlew River, Marcello La Bohème, Ramiro M. Ravel’s L'heure Espagnole.. He is also part of a concert series with Deutsches Filmorchester Babelsberg in Konzerthaus Berlin.
At Semperoper Dresden - Erster Priester Die Zauberflöte, Schaunard La bohème, Dr. Falke Die Fledermaus, Kilian Der Freischütz, among others.
2025 Yves Paternot Prize, awarded by the Verbier Festival.
Third Prize at the international opera competition CLIP in Portofino and the prize for Best Male Singer.
TCHAIKOVSKY - Eugene Onegin - “Uzhel ta samaia Tatjana”
TCHAIKOVSKY - Eugene Onegin - “Uzhel ta samaia Tatjana”
TCHAIKOVSKY - Eugene Onegin - Vi mne pisali
TCHAIKOVSKY - Eugene Onegin - Vi mne pisali
Mozart - Le nozze di Figaro - Conte Almaviva’s aria
Mozart - Le nozze di Figaro - Conte Almaviva’s aria
Verdi - Fastaff - Ford’s aria
Verdi - Fastaff - Ford’s aria
A cast of a calibre … Starting with the Russian baritone Anton Beliaev (Eugene Onegin), whose vocal authority makes him a natural fit for the title role. He has, moreover, been awarded the Yves Paternot Prize of the Academy. Self-sufficient, scornful to the right degree, his Onegin is so full of himself that even when he realizes his past mistake—his ill-placed condescension toward the woman who loved him and still does—he struggles to shed his arrogance in order to win back that lost love.
But here, even beside this highly charismatic Gremin, it is Onegin who steals the spotlight, embodied by the Russian baritone Anton Beliaev who, like his Tatiana that evening, seems to have been nurtured on Tchaikovsky’s work from the very start. First, there is that voice of exquisite roundness, with its warmth of tone and phrasing in which every word, every feeling, is adorned with the right color and the most fitting nuance. Above all, with his grave and soon sweat-drenched face, there is his way of fully inhabiting the role of the seemingly insensitive man who rejects love—until love in turn rejects him—sealing a fate marked by solitude and sorrow. Admittedly, in this version with a slightly shortened score, this Onegin does not sing the aria of his lament in Act III, yet this takes nothing away from a performance of complete authenticity, which shortly after the performance earned Anton Beliaev the Yves Paternot Prize, the festival’s most important distinction awarded to a young artist.
…Onegin who steals the spotlight … — embodied by the Russian baritone Anton Beliaev, who, like his Tatyana that evening, seems to have been nurtured on Tchaikovsky’s music from birth.
First, there is that exquisitely rounded voice, radiating warmth in its tone, and a phrasing in which every word, every emotion, is imbued with just the right color and nuance.
