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Hailing from North Russia, Nikitin entered the Saint Petersburg Conservatory in 1992.Combining his studies with his first solo engagement at the famed Mariinsky, he was soon invited to major theatres and festivals through Europe, the Americas and Asia.   2002 marked his debut at the Metropolitan Opera in War and Peace and his returns to New York include Colline/ La Bohème, Pogner /Die Meistersinger von Nurnberg, Fasolt /Das Rheingold, Orest /Elektra, der Wanderer /Siegfried, Rangoni /Boris Godunov, Klingosr /Parsifal. Mr. Nikitin made his Parisian debut at the Theatre du Châtelet in the title role of Rubinstein’s The Demon and returned in 2005 to sing the title role of Boris Godunov. Recent roles at the Paris Opera include Jochanaan, Klingsor, Tomski /Pique Dame, Gunther /Götterdämmerung and the title role of Dallapiccola’s Il Prigioniero. He made his debut at the Bayerische Staatsoper in 2008 as Jochanaan /Salome and was reinvited for Klingsor and Telramund /Lohengrin. This season he sings Der fliegende Holländer and appears in a major new production in 2016.  Other recent engagements include Der fliegende Holländer in Baden Baden (Gergiev), Toronto Leipzig and Tokyo; Amfortas /Parsifal

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Hailing from North Russia, Nikitin entered the Saint Petersburg Conservatory in 1992.Combining his studies with his first solo engagement at the famed Mariinsky, he was soon invited to major theatres and festivals through Europe, the Americas and Asia.  

2002 marked his debut at the Metropolitan Opera in War and Peace and his returns to New York include Colline/ La Bohème, Pogner /Die Meistersinger von Nurnberg, Fasolt /Das Rheingold, Orest /Elektra, der Wanderer /Siegfried, Rangoni /Boris Godunov, Klingosr /Parsifal.

Mr. Nikitin made his Parisian debut at the Theatre du Châtelet in the title role of Rubinstein’s The Demon and returned in 2005 to sing the title role of Boris Godunov. Recent roles at the Paris Opera include Jochanaan, Klingsor, Tomski /Pique Dame, Gunther /Götterdämmerung and the title role of Dallapiccola’s Il Prigioniero.

He made his debut at the Bayerische Staatsoper in 2008 as Jochanaan /Salome and was reinvited for Klingsor and Telramund /Lohengrin. This season he sings Der fliegende Holländer and appears in a major new production in 2016. 

Other recent engagements include Der fliegende Holländer in Baden Baden (Gergiev), Toronto Leipzig and Tokyo; Amfortas /Parsifal in Berlin and Valencia (Maazel), Pizzaro / Fidelio in Valencia, Boris Godunov in Nice and in an acclaimed production at the Mariinsky.

Major festival appearances include Fasolt (Rattle) in Aix en Provence, der Wanderer at the BBC Proms (Eschenbach), Ibn Hakia / Iolanta in Salzburg, Jochanaan in Verbier, where he returns this  season for Pizzaro (Fidelio).

Concert performances include Mussorgsky’s Songs and Dances of Death at the Schleswig Holstein Festival and the Berlin Philharmonic, Mahler’s 8th Symphony with the LSO, Rubinstein’s The Demon at the Barbican, Verdi’s Requiem with the National Symphony Orchestra Washington.


Mr. Nikitin returns home to the Mariinsky theatre to sing Boris Godunov, Filippo /Don Carlo, Holländer, Amfortas, Wotan /Das Rheingold, The Wanderer , Don Giovanni…

Last season saw him as Rangoni in Madrid, Telramund in Munich, Klingsor at the MET and Gunther in Paris.

Highlights of this season include returns to the Paris Opera as Orest and to Munich as Holländer as well as his debut at the Liceu Barcelona for Il Prigioniero, in Zurich as Jochanaan and with the Boston Symphony Orchestra in the same role.

His recordings include Amfortas / Parsifal with the Mariinsky/Gergiev and the Berlin Radio Symphony/Janowski as well Rangoni / Boris Godunov and Remeniuk /Semyon Kotko for Philips Classics

Cinema and DVD appearances include Parisfal and Boris Godunov at the MET, Boris Godunov at the Mariinsky, Lohengrin at the Bayerische Staatsoper…

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Photos

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Reviews

"Evgeny Nikitin delivered such soaring, charismatic, legati at this point that you might almost have believed his promise to renounce evil. He is precisely what the role and the opera needs: physically, vocally, a complete star. "

Edward Seckerson, The Independent

"L’excellent baryton Evgeny Nikitin devient éclatant en Günter manipulateur.
[Excellent baritone Evgeny Nikitin’s manipulative Günter is brilliant.]"

Caroline Alexander, Webthea

"La voix est superbe, riche, avec une aisance insolente dans l’aigu qui n’empêche nullement la noirceur désirée dans les graves. Dans cet éloge du bourgeois comme seul protecteur des arts, la diction incisive du baryton-basse fait merveille.
[His voice is superb, rich, with an incredible ease in the high notes, which does not hinder the desired darkness it has in the low notes. The bass-baritone’s incisive diction is marvellous in this high praise of the bourgeois as the only protector of the arts.]"

Laurent Bury, Forum Opéra

"The strongest performance of all is the Amfortas (ruler of the Grail Kingdom) of Evgeny Nikitin, a Russian who can sing German idiomatically , and who realises all the torment, physical as well as spiritual, in this trickiest of roles."

Michael Tanner, BBC Music Magazine

"Evgeny Nikitin propose un instrument vocal d’une maturité artistique qui force l’admiration. Quelle incarnation terrrifiante ! Révélant son personnage de tout son corps, s’agrippant à son lutrin comme s’il y cherchait la complicité d’un appui, projetant sa voix vers les ténèbres de la salle, il est en communion intense avec la musique de Strauss et les prophéties qu’il lance alentour. Avec son regard exorbité tout à coup perçant, durcissant les traits de son visage tel un Raspoutine blond, le chant de Nikitin fascine, enveloppe, déroute l’audience. Dès qu’il chante, on ne respire plus de peur qu’il nous investisse des reproches qu’il adresse à ses geôliers.
[Evgeny Nikitin presents an artistically mature vocal instrument that demands admiration. What a terrifying interpretation! By incarnating the character with his whole body, clutching the lectern as if he were trying to find comfort in the support, projecting his voice into the hall’s obscurity, he is in an intense communion with Strauss’s music and with the prophesies he shouts out. With his suddenly piercing exorbitant stare that hardens his facial traits, becoming a blond Rasputin, Nikitin’s singing fascinates, surrounds and destabilizes the audience. As soon as he starts singing, we stop breathing from fear that he will direct the reproaches he addresses to his jailers to us.]"

Jacques Schmitt, ResMusica

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Discography