Sergey Romanovsky


"Young Russian tenor Sergey Romanovsky immediately sets the bar high in the fiendish role of Antenore...his villain is dashing and devilishly accomplished."

Forum Opera

"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

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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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Verdi Requiem

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

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

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