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| SERGEY KUNAEV |
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THE PRESS
In April, 1996 he performed the role of Dimitry in Mussorgskys Boris Godunov at the Opera of Montpellier, France (cond. F.Layer). Boris A. Kocherga MIDI LIBRE 21. 04. 1996 Roland.M All the same we should give a preference to Sergey Kunaev. Hes got ingenuousness and young appearance (that corresponds to libretto), clear and light tones, deep understanding of details, poses and gestures. He had never been so verisimilar yet. In November 1996 he sang the role of Turiddu in Mascagnis Cavalleria Ructicana at the Grand Opera in Geneva, Switzerland. NEUE ZURCHER ZEITUNG Geneva 23. 10. 1996 Marianne Zelger - Vogt Sergey Kunaev in a part of Turridu has become a discovery of the evening. A young Russian tenor with a beautiful timbre and great strength of emanation is also a very talented actor. OPERNGLAS Germany 12. 12. 1996 P.Konig A very interesting portrait of Turiddu shown by S. Kunaev. He is smaller then macho, a more opportunist, who thinks little of himself. Metal tenor of a young Russian with his light and strong tops deserves attention in turns of large parts. In March 1997 he sang Scriabins Simphony No.1 at the Milan Conservatory and at the Ravenna Festival under Riccardo Muti. LA REPPUBLICA Milano 8.03. 1997 Angello Foletto THE JOY PERFECTION TOGETHER WITH MUTI A first-class soloist tenor Sergey Kunaev In January 1998 the artist sang Cavaradossi in Puccinis Tosca in Metz, France. In March 1998 he sang the part of Albert in Rachmaninovs Miserly Knight at La Fenice, Venice. LA NUOVA VE Venice 03. 03. 1998 Carla Moraine Venice invited a Russian troupe of unknown stars but great professionals. Miserly Knight was performed in an excellent version. IL GORNALE DI VENICE Venice 03. 03. 1998 Chesare Galla Sergey Kunaev with convincing musical talent and suitable voice. In May 1998 the artist sang the title role in Verdis Don Carlo (6 perf.) at the Opera Royal de Wallonie, Leige. LE SOIR Belgium (Liege) 15. 06. 1998 Michele Frishe As to Don Carlos he has an appearance of young S. Kunaev, whose flexible tenor has sufficient power and brightness as a vocal technique. QUOTIDIEN DE LA LIBRE BELGIQUE March, 1998 Martine Pimone S. Kunaev is singing with his clear voice in bright top registers and with young passion. In September of 1998 he sang the role of Vodemon in Tchaikovskys Iolanta in Bern, Switzerland (cond. Dmitry Kitaenko; 6 performances). In November 1998 he sang Pollione in Bellinis Norma (6 perf.) at the Baltimor Opera, USA. SAN DAY Boltimor, USA, 22 10. 1998 Stephan Yigler Norma may be the finest production of an opera which weve head this company give since about 15 years ago Sergey Kunaev at the part of Pollione sang always with a great taste, skill and sensitivity and in the final act, his voice seemed to acquire ever greater resonance. Lady Macbeth of Mzensk (cond. Semyon Bychkov; 20 perf.) and the role of Riccardo in Verdis Un Ballo in Maschera (conductors Massimo Zanetti, Stefan Soltesz, Oleg Caetani; 15 perf.). ORPHEUS journal 01/2001 Un Ballo... in Semperoper This lyrical tenor possesses a certain beauty and a stream of high notes and an attractive appearance. FREIHEIT 12. 11. 1999 Its enough to called only two names here: Anatoly Kocherga at the part of despotic and cruel father-in-law and Sergey Kunaev, who with help of his beautiful voice reproduces on the stage the lack of doubts, as an negative charm of his hero. The performance as a whole, on the level with all actors sledding gifted unforgettable holyday of vocal. OPERA Great Britain, journal 01. 2000 The part of Sergey plays Kunaev Sergey He uses bright, strong , powerful tenor. OPERNGLAS , journal #12/1999 31.10.99 Russian tenor Sergey Kunaev in the part of Sergey plays so vividly and performs the role of proletarian Don-Huan very earnestly. A bright timbre of his tenor matches to courageous impact of his figure. Eugeny Onegin (12perf.) at the Malm Theatre, Sweden, also he took part in Verdis Requiem. EXPRESSEN STOCKHOLM 26.11.01 Torbjorn Eriksson But it takes a breath away when invited from Russia tenor Kunaev Sergey sing the aria of parting of Lensky spirited and very affecting . CORRIERA DELLA SERA Milan 28.01.2001 Its rare one may to hear such kind of tenors as Sergey Kunaev (Radames). In March 2001 the artist sang the role of Vodemon in Tchaikovsky Iolanta at the Accademia Santa Cecilia, Rome (cond. Yuri Temirkanov). CORRIERA DELLA SERA Milan 12. 03.01 Free in singing of high register Sergey Kunaev (Vodemon) and ten minutes ovations at the end of the opera. IL MANIFESTO 15. 03.01 Last opera of Tchaikovsky in Santa Cecilia in Rome. The staff of singers of the high level where its distinguished by voice of light tenor Sergey Kunaev /Vodemon/ singing the highest register easily. In May 2001 S. Kunaev sang the part of Levko in the Rimsky-Korsakovs May Night at the Teatro Comunale di Bologna, Italy. IL OPERA journal #152 Nicola Almoiragi S.Kunaev beautiful performed the serenade with supplication by moonlight in the scene of the Ukrainian night. In November 2001 the artist sang the part of Vodemon in Iolanta at the Danish Radio in Copenhagen and the same part at the Teatro Alla Scala in June-July 2002 under Yuri Temirkanov. CORRIERA DELLA SERA Milan 03.07. 02 Paolo Isotto Sergey Kunaev is a real tenor, he is a pleasant surprise.. UNITA 04.07. 02 Rubens Tedeschi ..Clear, bright voice of rich range Sergey Kunaev. IL GIORNALE 30. 06.02 Alberto Cantu Sergey Kunaev Vodemon ....he sang the aria of the declaration of love delicately and fascinating and in duet he showed heart and mind. 2007 March 16,18,20,22,24 the part of Paolo in Rachmaninovs Francesca da Rimini at Teatro La Fenice, Venice, Italia LA REPUBBLICA 19.03.07 Paolo and Francesca presented on the stage more beautiful then music Bravissimo, well done and fill with enthusiasm Sergey Kunaev Dante and Paolo. It was a greate success and thats right Russian vocal school is the best in the world. /Dino Villatico/ DER NEUE MERKER 22.03.07 Dante and Paolo sang tenor Sergey Kunaev. His parts contains a lot of complicated and difficult high passages. He possesses a Russian voice with beautiful timber which perfectly fit to the part and this voice arouse great fillings in love duet. Here the tension increases to the highest point. This performance had a greate success . The audience was under strong impression from what they have saw and listened. The audience was beside oneself with delight. It was excellent operatic evening. /Martin Robert Botz/ IL GIORNALE DI VICENZA 20.03.07 Tenor Sergey Kunaev sang in an excellent stile and perfectly draught the vocal line . /Cesare Galla/ OPERA CLICK 20.03.07 Sergey Kunaev - Dante and Paolo .. he could completed with honour his part singing that never-ending and difficult duet with Francesca./A.Cammarano/ LOUISA SPOLETO FESTIVAL USA(SC)2009 Opera has its flaws, but performers are strong By WILLIAM FURTWANGLER Saturday, May 23, 2009 Spoleto Festival USA''s production of Gustave Charpentier''s "Louise," a paean to free love and Paris, opened Friday evening to an enthusiastic audience that The principal tenor of the Bolshoi Theatre in Moscow, Sergey Kunaev, sang the role of Julien, Louise''s lover. He possesses a vivid, stentorian voice.This production is easy to recommend. CITY PAPER 23.05.09 Louise delights both the eye and the ear, but leaves the heart hurting Spoleto''s lone opera debuts BY LINDSAY KOOB Well, the plot''s ordinary enough: a lovingly raised lower-class teenage seamstress (Louise) meets a dashing young artist (the poet Julien), and runs off to the glam big city (Paris) to live in bohemian-style sin with him, Louise into a first-rate (though unjustly neglected) opera. The lead roles were all well-filled. As her hero Julien, tenor Sergei Kunaev delivered the full goods, with riveting, testosterone-driven intensity and a ringing top end.With this production, Spoleto has again achieved what it has done so well over the years: dusting off obscure operatic treasures, and giving them the kinds of performances that reveal their greatness to us and the world. more articles in Spoleto 2009 SPOLETO TODAY 20may Louise opera dress rehearsal Last night, I attended the dress rehearsal for Gustave Charpentiers Louise at the Gaillard Auditorium. When the curtain rose, I was expecting to be sitting through three hours of boring opera, reading subtitles. I had never been to an opera before, other than hearing a few examples of it in my 16 years of life, and expected my ears to be bleeding by the end of the night. What I saw and heard, was completely the opposite of horrible. Onstage, a girl sat swinging her feet as she waited impatiently for someone to come. Louise, played by Stefania Dovhan, and Sergey Kunaev, cast as Louises lover Julien, met onstage after Julien climbed through a window and into the Parisian, working-class apartment. The chemistry between these two was portrayed beautifully, whether it was real or not. As the French lyrics flowed, I realized I didnt even need the supertitles above the stage, because their body language, tone of voice, and facial expressions said it all. Just a warning to the parents out there, I dont recommend bringing your children to this. Not anything against the production, just that it gets a bit steamy. It was great though, Dovhan and Kunaev sang beautifully, ending the song when the Bohemians came and appointed Louise the Queen of Montmartre. I had really expected to be almost bored to tears throughout the whole thing, but at the end, I found that I was extremely glad I had gone. Louise was great, and surprised me at every turn. I never knew what was going to happen, and I certainly didnt expect to be on the edge of my seat half the time. It produced so many different emotions for me, that I was shocked. I recommend going to see it, if you like drama, because Louise is possibly the epitome of the word. Ali Ravenel |
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