"Yuriy Yurchuk sang a profoundly flowing Lescaut, which showed strong presence vocally and dramatically"
"Yuriy Yurchuk sang with a sonorous baritone and menacing demeanor as the four villains."
New York Times
"Yuriy Yurchuk's pithy, resonant baritone conferred an unexpected intensity on Germano."
"...a formidable Prince Yamadori..."
Ukrainian baritone Yuriy Yurchuk is a Royal Opera House principal artist, described as "the finest voice on stage ...with the immaculate Italianate line" (The Times) and "rich, deep voice capable of great versatility" (Bachtrack). Engagements in the 2018-19 season include Marcello La bohème and Lescaut Manon (Opernhaus Zürich), Il Conte di Luna Il trovatore (Opéra de Baugé) and covers of Yeletskiy Queen of Spades and Escamillo Carmen (Royal Opera House, Covent Garden). In the 2019-20 season he will sing Marcello La bohème for his house debut at Opera North.
Yurchuk’s competition successes include prizes at the Queen Sonja International Singing Competition (Norway), Montserrat Caballe International Singing Competition (Spain), Ottavio Ziino International Singing Competition (Rome), Monastero Foundation Bel Canto competition (USA), Fritz and Lavinia Jensen competition (USA) and Chicago NATS vocal competition. Other notable appearances include the King of Egypt in Verdi’s Aida excerpt in tribute to Martina Arroyo at 36th Kennedy Center Honors Awards in Washington DC, concerts for the Royal family at the Buckingham and Windsor palaces, appearances for BBC TV series and BBC Radio 3 Sean Rafferty's In Tune.
Yurchuk has recorded a collection of Rimsky-Korsakov romances with Anush Hovanissyan and Sergei Rybin for Stone Records where he was praised for his "wonderful legato and superb Russian delivery that make this collection irresistible" (Sunday Times).
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Opernhaus Zürich, April 2019
Yuriy Yurchuk sang a profoundly flowing Lescaut, which showed strong presence vocally and dramatically...
Isabella Steppan, Bachtrack, 22 April 2019
Yuriy Yurchuk ... his characterful baritone flows wonderfully, and because of that, as a red line through the whole score, Lescaut gets here the necessary weight...
Kaspar Sannemann,Oper Aktuell, 7 April 2019
Yuriy Yurchuk offered a mellifluous Lescaut, making the most of “Ne bronchez pas, soyez gentille”, in a dialogue that Vitter parodied as a female equivalent to army life...
Ditlev Rindom, Mundo Clasico, 2 May 2019
As Manon's brother Lescaut Yuriy Yurchuk was just as credible, but now as a representative of a hypocritical society. The singer has a strong baritone, just the right size for the soldier.
John Mueller, Online Merker, 16 May 2019
Finally, we discover a bass-baritone of beautiful stature: the Ukrainian Yuriy Yurchuk, enveloping voice and powerful befitting a Lescaut even more charming than his kind cousin.
Katy Oberlé, Anaclase, 4 May 2019
Count Rodolfo in Foroni's Margherita
Wexford Festival Opera, October 2017
...but the finest voice on stage belongs to Yuriy Yurchuk, who sings Rodolfo's aria with immaculate Italianate line.
Hugh Canning, The Times, October 2017
Yuriy Yurchuk gave a masterclass in how, with scant time and space, to inject a role with a profundity not immediately apparent in the action, or indeed the score. Count Rodolfo’s Act 1 aria was both nuanced and psychologically weighty.
Claire Seymour, Opera Today, October 2017
Colonel Rodolfo, sung by baritone Yuriy Yurchuk, possesses a rich, deep voice capable of great versatility and his denunciation of the real villain at the end was wonderfully evocative.
Andrew Larkin, Bachtrack, October 2017
Baritone Yuriy Yurchuk’s Count Rodolfo, the man whose testimony helps unwrangle the wrongs of the story, is appropriately full and authoritative
Michael Dervan, The Irish Times, October 2017
No weak links in a confident cast, with strong vocal leads and apt characterisations lessandra Volpe’s wealthy orphan Margherita, Andrew Stenson’s melancholy soldier boy Ernesto, Giuliana Gianfaldoni as his concerned sister Giustina, Yuriy Yurchuk as his colonel Count Rodolfo
George Hall, The Stage, October 2017
Ukrainian baritone Yuriy Yurchuk is commanding in the final showdown where villains are trounced and love triumphs.
Clare Colvin, Express.co.uk, October 2017
Mandarin in Puccini's Turandot
Royal Opera House, July 2017
And there are no weak links in the rest of this vocal chain, anchored by Yuriy Yurchuk's Mandarin
Michael Church, The Independent, July 2017
Like the Herald in Lohengrin, the Mandarin in Turandot can set the tone for the whole evening and here Yuriy Yurchuk's forthright baritone made me sit up and listen
Jim Pritchard, Seen and Heard International, July 2017
The strength in secondary roles was a bonus, with idiomatic contributions from Yuriy Yurchuk as the choric Mandarin
Mark Valencia, WhatsOnStage, July 2017
Baron Douphol in La traviata
Royal Opera House, January 2017
In a solid supporting cast Yuriy Yurchuk as Baron Douphol made more of this cipher character than most baritones achieve
Mark Valencia, WhatsOnStage, January 2017
The re were arresting cameos from two of the Royal Opera's apprentices, Angela Simkin (FLora) and Yuriy Yurchuk (Douphol)
Rupert Christiansen, The Telegraph, January 2017
Angelotti in Tosca
Royal Opera House, January 2016
Uktrainian baritone Yuriy Yurchuk was especially convincing as the anxious Angelotti, using his lovely tone to garner our sympathy
Claire Seymour, Opera Today, January 2016
...the best were Yuriy Yurchuk's urgent, focused Angelotti and Donald Maxwell's bustling Sacristan...
Mark Valencia, WhatsOnStage, January 2016
The Four Villains in Offenbach's The Tales of Hoffmann
Kaye Playhouse, July 2013
Yuriy Yurchuk sang with a sonorous baritone and menacing demeanor as the four villains
Vivien Schweitzer, The New York Times, July 2013