2018/2019 saw Vladislav Sulimsky emerge as a leading exponent of the Verdi baritone repertoire. He debuted at the Berliner Staatsoper as Il Conte di Luna and sung Iago (Otello) at the Wiener Staatsoper, following his 2018 debut at the Salzburg Festival in a new production of Pique Dame conducted by Mariss Jansons. He also took the title role in Rigoletto at The Wiesbaden State Theatre.
In 2002 he won first prize at the International Rimsky-Korsakov Competition in Saint- Petersburg. He subsequently became a soloist at the Mariinsky Theatre, where he continues to give critically acclaimed performances, including the title roles of Eugene Onegin, Simone Boccanegra, Macbeth, Rigoletto and Gianni Schicchi.
Sulimsky won second prize at the International Elena Obraztsova Competition in 2006, first prize at the International Giacomo Lauri-Volpi Competition in 2010, and a Grammy Award Nomination for his recording of The Nose with Valery Gergiev in 2009.
2012 saw his Swedish debut at the Malmö Opera in Verdi’s Luisa Miller, returning to sing Onegin and as Renato at the Stockholm Royal Opera. He sang Rodrigo at the Baden-Baden Festival, Prince Krljatew (Charodeyka) at the Theater an der Wien and made his Swiss debut at the Basel theatre as Macbeth. Summer 2016 saw his Edinburgh International Festival debut as Alberich (Das Rheingold).
Recent performances include Tomsky/Pique Dame in Stuttgart, Mazeppa at the Oviedo Opera, Rigoletto at the Sankt Margarethen Opera Festival, and his return to Dallas Opera in La Traviata.
Highlights of his 2019/2020 season include his debut at the Bayerische Staatsoper as Il conte di Luna, his returns to the Berliner Staatsoper for a new production of Khovanshchina and to the Concertgebouw Amsterdam for a concert version of Francesca da Rimini.
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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.]