Dmitry Ulyanov is represented by Rayfield Allied worldwide (excl. Spain).
Assistant Artist Manager:
At once authoritative, benevolent and noble, Dmitry Ulyanov portrays a leading Don Marco.Maurice Salles, Forum Opera
Russian bass, Dmitry Ulyanov, begins Season 2013-14 with is appearance at Teatro Real Madrid as Basilio Il Barbiere di Siviglia. He remains in Spain to sing the role of Ramfis Aida in Seville at Teatro de la Maestranza, and returns to Madrid for concert performances of Rossini’s Stabat Mater. The New Year sees him take on the role of Escamillo Carmen at New National Theatre of Tokyo, and he returns to his home base at the Stanislavsky Theatre in Moscow for revival performances as Ramfis and Leporello Don Giovanni. He closes the season at Grand Theatre Luxembourg with one of his signature roles, Gremin Eugene Onegin.
Mr Ulyanov’s roles with the Stanislavsky Theatre both in Moscow and on international tours include Gremin Eugene Onegin, Don Alfonso Cosi fan tutte, Colline La Boheme, Kutuzov War and Peace, Golova May Night, Four Villains Les Contes d’Hoffmann, Don Basilio Il Barbiere di Siviglia at Opéra de Marseille, Raimondo Lucia di Lammermoor, Padre Guardiano La Forza del Destino, and Rocco Fidelio among others.
The artist graduated from the Urals State Conservatoire in 2000, the year he won the International Singer’s Competition Grand Prix, held during the UNESCO Festival in Kazakhstan. He spent a year at Yekaterinburg State Opera and two years at Novaya Opera, where he sang Loredano I due Foscari, Varlaam Boris Godunov and Strummer La Wally, before becoming principal bass at Moscow’s Stanislavsky Theatre.
In 2009, Mr Ulyanov made his Bolshoi Theatre debut as the Doctor Wozzeck in a new production by Dmitri Tcherniakov under the baton of Teodor Currentzis. Quickly becoming a favoured artist of this highly creative team, he was invited to sing the role of Banco Macbeth in the co-production between Paris Opera and Novosibirsk Opera, a role he also sang when the production appeared at Teatro Real, Madrid. He joined Teodor Currentzis again for King Rene Iolanta in Madrid (directed by Peter Sellars), which was broadcast on Mezzo TV and commercially released on DVD. The production also travelled to Valencia and will be seen in the future at the Bolshoi Theatre and Aix-en-Provence.
Building a successful international career, the artist’s other roles include Marcel Les Hugenots, Pimen Boris Godunov (both at Teatro Real Madrid), Grand Inquisitore Don Carlos, Hunding Die Walkure ( Teatro de la Maestranza, Seville), Gian Francesco La Juive (Israeli Opera and the Mikhailovsky Theatre, St Petersburg), Sparafucile Rigoletto (with Leo Nucci in Coruna), the title role Shylock at the Festival of Forbidden Music in Marseille; Tomsky Pique Dame, Varlaam Boris Godunov and Khan Konchak Prince Igor (Opera de Monte Carlo); Don Marco The Saint of Bleecker Street and The King Aida (Opera de Marseille).
A highly versatile artist, Mr Ulyanov cuts a significant figure on the concert and recital stage, and with the great Russian conductor Gennady Rozhdestvensky sang the role of Molchan Mitkov in Tchaikovsky’s rarely performed Oprichnik at Teatro Lirico di Cagliari in a performance that was recorded for CD and filmed for European broadcast. Other concert work includes Rossini’s Sabat Mater, Verdi’s Requiem, Stravinsky’s Les Noces, and various works of Schubert and Mussorgsky.
Future appearances include Phillip II Don Carlos, King René Iolanta, Cardinal de Brogni La Juive and Dosifey Khovanshchina.
Iolanta, Festival d’Aix-en-Provence
The role of King René, without doubt the most complex character to deliver, a father who is at the same time possessive, overprotective and loving, was sung by the Russian bass Dmitry Ulyanov, with perfect adapted timbre...Claude Jottrand, Forum Opera
…not to mention a show-stopping prayer aria from Dmitry Ulianov as her father, King René…Mark Valencia, Bachtrack
Dmitry Ulianov’s vibrant Roi René…Marie-Aude Roux, Le Monde
Dmitry Ulianov’s majestic René...Jean Luc Clairet, Res Musica
Dmitry Ulianov subtly reveals the psychological journey of his father, initially opposed against revealing the truth (Iolanta must not know that she is ill), then convinced that only she can heal his daughter.Phillippe Venturini, Les Echos