The coming season 2018/2019 sees Vladislav Sulimsky emerge as a leading exponent of the Verdi baritone repertoire. He makes his debut at the Berlin Staatsoper as Il Comte di Luna and he sings Iago in a new production of Otello at the Wiener Staatsoper. This follows his 2018 debut at the Salzburg Festival in a new production of Pique Dame conducted by Mariss Jansons.
In 2002, baritone Vladislav Sulimsky won first prize at the International Rimsky-Korsakov Competition in St Petersburg. He subsequently became a soloist at the Mariinsky Theatre, where he continues to give critically acclaimed performances of the title roles of Eugene Onegin, Simone Boccanegra, Macbeth, Rigoletto and Gianni Schicchi, as well as roles such as Rodrigo/Don Carlo, Don Carlo/La Forza del Destino, Renato/Un Ballo in Maschera……
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. In Europe he sang Rodrigo 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.
Recent performances include Tomsky, Pique Dame at Stuttgart, Mazeppa at the Oviedo Opera, and his debut as Rigoletto at the Sankt Margarethen Opera Festival, and his return to Dallas Opera as Germont/La Traviata.
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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.]
“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.]