"Young Russian tenor Sergey Romanovsky immediately sets the bar high in the fiendish role of Antenore...his villain is dashing and devilishly accomplished."
"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"
Rupert Christiansen, The Telegraph
"You sense the mutual attraction from the outset. [Romanovsky] hides desire behind a rather lofty reserve, and obsession lurks tellingly beneath his gloriously voiced ardour."
Tim Ashley, The Guardian
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, Academy of Choral Arts in Moscow and on the Young Artists Programme at the Bolshoi Theatre of Moscow, Romanovsky is winner of numerous competitions, including Moscow’s International Bella Voce Competition in 2005.
Engagements in the 2017-18 season include role debuts as Giasone in Cherubini’s Medea (Wexford Festival Opera) and Rodrigo La donna del Lago (Opéra Royal de Wallonie, Liège); Rodolfo La bohème (Dutch National Opera); and the title role of Don Carlos (Opéra de Lyon).
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Agorante in Rossini's Ricciardo e Zoraide, Rossini Opera Festival Pesaro
Rossini Opera Festival, Pesaro, August 2018
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