"Romanovsky, darkly handsome and slender on his house debut, is something of a find. His voice projects with sweet luminous tone that will endear him to casting departments"
"... listening to him was like being transported to a bygone age of tenors that prized beauty over heft. His sweet timbre, quick vibrato and unerring instinct for Italianate muscal inflection made him a vocally irresistible Rodolfo"
"...Sergey Romanovsky, whose honeyed lyric tenor was an ideal weight and color for the part. Sunny and flexible, yet still full-bodied, his instrument matched even the most difficult demands of the music with its ringing top and flowing middle."
"... he’s that rare thing: a bel canto tenor with a pronounced baritonal timbre."
BBC Music Magazine
An innate musical talent, young Russian tenor Sergey Romanovsky is quickly establishing himself as one of the most interesting voices of a generation. Having studied at the Tchaikovsky State Conservatory and the Academy of Choral Arts in Moscow, Romanovsky is winner of numerous competitions, including Moscow’s International Bella Voce Competition in 2005.
Highlights of the 2018-19 season include his debuts at the Royal Opera House Muscat (Gérald Lakmé), the Bregenzer Festspiele (Duca Rigoletto) and with the Accademia Nazionale di Santa Cecilia (Rossini’s Petite Messe Solennelle), as well as returns to Opernhaus Zürich (Nadir Les pêcheurs de perles) the Bolshoi Theatre (Belfiore Il viaggio a Reims). He also sings in the 40th anniversary Gala Concert at the Rossini Opera Festival in Pesaro. Engagements in the 2019-20 season include a return to the Municipal de Santiago in Chile (title role Faust).
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Bregenzer Festspiele, July 2019
Luisi was helped by a superb vocal quartet, particularly Sergey Romanovsky, whose honeyed lyric tenor was an ideal weight and color for the part. Sunny and flexible, yet still full-bodied, his instrument matched even the most difficult demands of the music with its ringing top and flowing middle. The “Hostias” was breathtaking, a warm, hazy ray of light opening up into shining brightness. He poured rich emotion into the crafting of his phrases and chose exquisite moments to push his tone for emotional effect, as in the keen pleading of the “Ingemisco.”
Eric Simpson, Operawire, 30 July 2019
Gérald in Lakme
Royal Opera House Muscat, March 2019
Sergey Romanovsky brought plangent tone and ardent presence to the smitten officer Gérald
John Allison, Opera magazine, June 2019
Agorante in Rossini's Ricciardo e Zoraide, Rossini Opera Festival Pesaro
Rossini Opera Festival, Pesaro, August 2018
...he’s that rare thing: a bel canto tenor with a pronounced baritonal timbre.
Christopher Cook, BBC Music Magazine, January 2020
the darker timbre of Sergey Romanovsky contrasted effectively with Flórez's voice. Romanovsky coped easily with an extensive range reaching from low A flat to high C, sometimes within a single phrase.
Carlos María Solare, Opera Magazine, November 2018
Agorante, the Nubian king who kidnapped Zoraide, was Sergey Romanovsky, who made an impression last year in Pesaro in Le Siège de Corinthe, as Néoclès. Agorante is a baritenor, a classic Nozzari role, and Romanovsky was very much at ease in this tessitura. He was commanding and charismatic on stage, very credible as the warrior-king.
Laura Servidei, Bachtrack, August 2018
Agorante was sung by Russian tenor Sergey Romanovsky whose darkly colored tenor voice soared with easy heft to the required high C’s, simultaneously sculpting elaborate coloratura in his lengthy aria. It was his one and only aria, an auspicious inauguration of this evening of spectacular vocal fireworks.
Michael Milenski, Opera Today, August 2018
Don Carlos, Opéra de Lyon
Opéra de Lyon, March 2018
From his opening poetic recitative, it was evident we were in for something special from Sergey Romanovsky's Carlos. His plangent tenor, light and lyrical, was perfectly weighted.
Mark Pullinger, Bachtrack, 18 March 2018
Well schooled in the bel canto repertoire and possessed of a fresh-sounding lyric tenor, Sergey Romankovsky conveyed Carlos’s youthful impetuosity and vulnerability while singing handsomely and projecting well
George Loomis, Opera Magazine, June 2018
La bohème, Dutch National Opera
Dutch National Opera, December 2017
... listening to him was like being transported to a bygone age of tenors that prized beauty over heft. His sweet timbre, quick vibrato, and unerring instinct for Italianate musical inflection made him a vocally irresistible Rodolfo.
Bachtrack, December 2017
Jason in Cherubini's Medea
Wexford Festival Opera, October 2017
Only Sergey Romanovsky’s Jason manages to cut through the chilling facade to make the most personalised connection, both as a character and with the audience, in an evening where little else really did.
Michael Dervan, The Irish Times, October 2017
Romanovsky is a buff yet sympathetic Jason with an elegant Italianate tenor
Rupert Christiansen, The Telegraph, October 2017
The opera opens as Jason – Sergey Romanovsky, with a lovely edge to his tenor – is preparing the marry Glauce.
Cara Chanteau, The Independent, October 2017
especially Sergey Romanovsky’s bright-toned Jason
George Hall, The Stage, October 2017
Sergey Romanovsky delivered a devious Jason, strong-voiced and well-acted
Andrew Larkin, Bachtrack, October 2017
Le siège de Corinthe, Rossini Opera Festival
Rossini Opera Festival, Pesaro / August 2017
Tenor Sergey Romanovsky was a wonderful surprise. His top range came easily and strong, even the notes above high C, and, at the same time, his middle voice was powerful and gave solid support to his characterization of the Greek warrior Néoclès. His great aria of the third act was greeted with a warm applause, and he received the most enthusiastic cheer at curtain call.
Bachtrack, August 2017