"... one of the most cheered singers, a powerful and beautiful voice, enormous musicality and a convincing performance" - Visionescriticas
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Daniele Rustioni, Conductor
Robert Lepage, Stage Director
Daniele Rustioni, Conductor
Robert Lepage, Stage Director
Daniele Rustioni, Conductor
Robert Lepage, Stage Director
Return to Sydney Opera Australia as Ramfis Aida*, debut at the Opera de Lyon as Emperor The Nightingale*, as Gremin Eugene Onegin* at the Teatro Municipal de Santiago.
Debuts at the Northern Ireland Opera as Sparafucile Rigoletto, at the Ópera Nacional de Chile as Padre Guardiano La Forza del Destino, at Opera Australia as Colline La bohème and Sparafucile Rigoletto and the title role Atilla, at Deutsche Oper Berlin as Bauer, Wiedertäufer and cover Zacharie Le prophète, at Grand Théâtre de Genève as Bass in Mozart’s Requiem and as Ercole II Giasone, at the Stadttheater Klagenfurt as Gremin Eugene Onegin, at the National Opera of Ukraine Alidoro in La Cenerentola. The Bass part in the Beethoven’s 9th Symphony at Gulbenkian Choir and Orchestra Lisbon. [*- cancelled]
Lyubvi vse vozrasty pokorny
Lyubvi vse vozrasty pokorny
A te l'estremo addio...
A te l'estremo addio...
O Isis und Osiris
O Isis und Osiris
La mayor revelación fue el ucraniano Taras Berezhansky, un Padre Guardiano con voz de grano oscuro, esmalte sin melladura, calibre poderoso. Un placer escuchar sus descensos a los Fa grave que pide la partitura, no meramente rozados, sino prodigados con duradera soltura, todo ello unido a un desenvolvimiento actoral que transmite la nobleza y profundidad humana de un personaje de pocas aristas. Es de retener este nombre, que bien podría alcanzar una consagración de primer plano internacional.
mientras la gran revelación de este elenco fue un espléndido bajo ucraniano, Taras Berezhansky, un sonoro Padre Guardiano de bella voz, cómodo en todo el registro.
El bajo ucraniano Taras Berezhansky fue uno los cantantes más ovacionados, las razones; una poderosa y bellísima voz, tiene enorme musicalidad y convincente actuación, creemos que sería una gran noticia saber que volvería al escenario del Municipal, su Padre Guardiano fue de prestancia inolvidable.
Berezhansky made his OA debut last year as Sparafucile, and his stylish, subtle turn here as the philosopher of the group only reaffirmed my favourable impression of the singer. It’s a beautifully weighty instrument that has exciting repertoire options ahead of it, and for once the Coat Aria felt like an affecting moment of sacrifice rather than an irritating hold up to the drama.
Taras Berezhansky as the philosopher Colline was amiably woolly, gruff and melodious in the coat song in the final act.
Taras Berezhansky as Sparafucile, who’s velvety yet sinister tone was beguiling, played his character with believable sincerity.
Taras Berezhansky provided us with a chilling Sparafucile and his powerful voice and dark vocal timbres were ideally suited to the role. Fleur Barron’s Maddalena was a saucy, manipulative creature and she sang with confidence and ease.
Taras Berezhansky had menace in the low register and unyielding vocal firmness as the assassin Sparafucile
Taras Berezhansky, was a revelation as Sparafucile. Here was handsome young man with a rich evenly placed bass voice. He was in turns chilling, particularly threatening with his sister – believable in his thieves honour – and respectful of the death bargain he has struck with Rigoletto.
Taras Berezhansky, as sinister gravelly voiced Sparafucile, menacing assassin and publican was macho and dominating.
Mit allen Tiefen und viel Noblesse singt Taras Berezhansky den Fürsten Gremin
Il basso Taras Berezhnsky, originario dell’Ucraina, ha dato il suo mezzo vocale, corretto e di grande generosità, alla figura del Pincipe Gremin, in linea con la lettura registica non senile del personaggio.
Thankfully there’s some fantastic singing to be had, beginning with Ukrainian bass Taras Berezhansky in the title role. ...What he currently brings to the role is firm, resonant tone with plenty of vocal colour, and he occupies the stage with charisma and easy authority. His dream scene was a true highlight, melding menace with moments of vulnerability and pathos.
Ukrainian Taras Berezhansky, in time, looks set to take his place in this august company. He has a full, well-focused vocal tone and an imposing stage presence; [...] There were several highlights in his performance, including his dramatic entrance astride a dark horse, but his expressive, nuanced, and dramatic expressiveness in the confrontation with Pope Leo at the end of Act I was memorable. His evocative vocal and textual articulation captured the growing terror of this seemingly implacable and impervious character as he prostrates himself to a higher power in the spine-tingling Verdian act finale.
Ukrainian bass Taras Berezhansky was outstanding as Attila. Firm and focused across his range, Berezhansky’s appealing, dark-hued timbre and resounding strength captured Attila’s imposing authority and arrogant certainty.
