In 2002, baritone Vladislav Sulimsky won first prize at the International Rimsky-Korsakov Competition in St Petersburg. Two years later he became a soloist at the Mariinsky theatre, where he sings many critically acclaimed parts, including the title roles in Eugene Onegin and Gianni Schicchi, and roles such as Rodrigo, Don Carlo; Andre Bolkonsky, War and Peace and Ford, Falstaff. There he also performed alongside such names as Natalie Dessay and Anna Netrebko, with whom he toured Europe in Iolanta.
Notable awards include second prize at the International Elena Obraztsova Competition in Moscow in 2006, first prize at the International Giacomo Lauri-Volpi Competition in Italy, and a Grammy Award Nomination for his recording of The Nose by Shostakovich with Valery Gergiev in 2009.
On the international stage he made his 2012 Swedish opera debut at the Malmö Opera in Luisa Miller (Verdi), returning to sing Onegin under Michail Jurowski, and appearing at the Stockholm Royal Opera as Renato, Un ballo in maschera. In Europe he sang Posa, Don Carlo, at the Baden-Baden Festival, Prince Krljatew in Tchaikovsky’s Charodeyka at the Theater an der Wien and made his Swiss debut at the Basel theatre in the title role of Macbeth. Summer 2016 saw his Edinburgh International Festival debut singing Alberich, Das Rheingold.
Last season was marked by performances as Tomsky, Pique Dame, at Stuttgart, Mazeppa at the Oviedo Opera, and Rigoletto at the Sankt Margarethen Opera Festival, alongside his many performances at the Mariinsky Theatre, the Bolshoi and the White Nights Festival.
Upcoming engagements include the role of Germont in La Traviata in Dallas.
“…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.]
“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.]
“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.]