Vladislav Sulimsky

Baritone

Biography

In 2002, baritone Vladislav Sulimsky won first prize at the International Rimsky-Korsakov Competition in St Petersburg. Two years later, he became a member of the Mariinsky Theatre in St. Petersburg, where he sings many critically acclaimed parts, including the title roles in Eugene Onegin and Gianni Schicchi, and roles such as Rodrigo (Don Carlo), André Bolkonsky (War and Peace), and Ford (Falstaff).

He went on to win second prize at the International Elena Obraztsova Competition in Moscow in 2006, first prize at the International Giacomo Lauri-Volpi Competition in Italy, and received a Grammy Award Nomination for his recording of “the Nose” by Schostakovich with Valery Gergiev in 2009.

In 2010, Sulimsky sang Enrico Ashton (Lucia di Lammermoor) at the Mariinsky alongside Nathalie Dessay and Belcore in L’elisir d´amore with Anna Netrebko as Adina. His roles at the Mariinsky the following season included Giorgio Germont (La Traviata) and Robert in Iolanta. A frequent guest at the Bolshoi Theatre in Moscow, he has performed Prince Kurlyatev in The Enchantress by Tchaikovsky and Eugene Onegin.

In the 2011/2012 season, he released recordings of “Lucia di Lammermoor” with Dessay and Beczala, and “Attila” with I. Abdrazakov, and sang in Attila at the Mikkeli Festival in Finland. Sulimsky made his Swedish opera debut in 2012 at the Malmö Opera as Miller in Verdi’s Luisa Miller, followed by Renato in Un ballo in maschera at the Stockholm Royal Opera. He completed the season with a European tour singing Ibn-Hakia alongside Anna Netrebko in Iolanta, and then went on to sing Il Conte di Luna in Il Trovatore at the Mariinsky Theatre.

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“…le superbe Alberich de Vladislav Sulimsky, idéalement mordant, totalement investi dans son personnage, et d’une rare émotion.”

[The superb Alberich of Vladislav Sulimsky, perfectly intense, totally invested in his character and with a rarely seen emotion.]

 

Emmanuel Andrieu

Opera Online

“Le Macbeth de Vladislav Sulimsky, dont le métal vocal somptueux rend plus pitoyable l’homme battu par sa femme que lui fait jouer Py, est plus fêté encore, déclenchant tonnerres d’applaudissements et initiatives isolées transformant le temps d’un soir le Theater Basel en Scala de Milan.”

[Vladimir Sulimsky’s Macbeth, whose sumptuous voice accentuates the pity for the man beaten by his wife, as envisioned by Py, is even further appreciated, triggering thunderous applause and singular moments where an evening in the Theater Basel is transformed into Milan’s La Scala.]

 

Jean-Luc Clairet

ResMusica

“Певец, как обычно, был вокально великолепен в партии Макбета и драматически очень органичен в этой роли… И в его пении даже с закрытыми глазами, даже в непонятной темноте на сцене, когда почти не видны лица артистов, все равно чувствуешь весь накал страстей – радости, жажды власти, испуга, ужаса, одержимости и отчаяния. Самая потрясающая ария Макбета в исполнении Владислава Сулимского в конце третьего действия заставляла затаить дыхание, чтобы не пропустить ни одной прекрасной ноты!”

[The singer, as ever, was vocally magnificent in the part of Macbeth and dramatically very organic… Even closing your eyes during his singing, in the impenetrable darkness of the stage, when you can hardly see the artists’ faces, you still feel the radiating passion, thirst for power, fear, obsession and despair. Macbeth’s most breathtaking aria performed by Vladislav Sulimsky at the end of the third act forced you to hold your breath, so as to not miss a single one of the beautiful notes.]

 

Мари Козлова

Proza