"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 the winner of numerous competitions, including the 2005 International Bella Voce Competition in Moscow. He currently studies with Olga Mironova and Dmitry Vdovin.
In the 2021-22 season he sings the title role in Rossini’s Otello for Opéra Royal de Wallonie, Liège; Mérowig Frédégonde for Theater Dortmund; and the title role Mitridate, re di Ponto with the Moscow State Philharmonic Society. He also returns to the Rossini Opera Festival, Pesaro.
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Ernest Guiraud/ Camille Saint-Saëns - Frédégonde (Mérowig)
Theater Dortmund, November 2021, May 2022
Romanovsky is exciting! Not many can match the bursting energy and likewise humane charisma of his voice.
Roland H Dippel, Die Deutsche Bühne, 21 November 2021
Romanovsky as Mérowig has a powerful and lyrical tenor which finds a moving unity in its interplay with (Anna) Sohn's soprano.
Thomas Molke, OMM, 21 November 2021
Sergey Romanovsky is a prince of the higher order not only in his melting tenor but also in the way he holds himself and as a film hero.
Joachim Lange, NMZ, 21 November 2021
(...) Sergey Romanovsky sang (...) with a timbre and a lyrically melting legato suited to the French operatic repertoire."
Sigi Brockmann, Der Opernfreund, 22 November 2021
Rossini's Elisabetta, regina d'Inghilterra (Leicester)
Rossini Opera Festival, Pesaro, August 2021
Sergey Romanovsky is vocally and visually a radiant young Leicester, whose strong tenor voice has great charisma in the upper register. A highlight is the big prison scene in the second act, where he descends from cleanly sung heights to voluminous depths and laments the suffering of his wife Matilde.
Thomas Molke, OMM, 8 August 2021
Sergey Romanovsky takes advantage of the different characters of his rich vocal register. The tone is soaring and captivating; it makes the line of the recitatives rich and smooth. With long breaths, and a moderate use of vibrato, he sings with clean high notes and very convincingly portrays himself as the lover, rather than the soldier, in his aria.
Thibault Vicq, Opera Online, 8 August 2021
The cast includes two tenor roles with similar vocal characteristics, what we now would call a “baritenor”: a dark tenor voice, with strong, powerful high notes. Sergey Romanovsky, as Leicester, fits the bill. His performance was exciting, his high notes confident, his interpretation convincing as the young hero torn between love for Matilde and loyalty to the Queen, who wants him as her husband.
Laura Servidei, Bachtrack, 10 August 2021
Sergey Romanovsky truly impresses as Leicester, one of the baritenor roles which he particularly favours and which allows him to showcase his middle and lower registers, remarkably well projected and integrated into the vocal line. The upper register is not to be outdone […] and the characterisation is very convincing, notably in a very moving prison scene.
Stéphane Lelièvre, Première Loge, 10 August 2021
Tenor Sergey Romanovsky produced a lyrically engaging presentation as Leicester, in which his acting and singing successfully captured the swagger of the returning hero. He possesses a well-supported voice, with a pleasing timbre that he used to good effect, no more so than in the prison scene in which his expressive recitatives captured his weary and forlorn state. From here he moved into the aria “Sposa amata…respira…,” in which he gave voice to his anxiety and sorrow in a powerfully rendered and emotional presentation, which also showed off the beauty of his singing. His ensemble singing also displayed quality. The scena and duet with Matilde, beginning “Incauta, che festi!,” was also wonderfully presented, with both Romanovsky and Jicia producing strong, lyrical performances in which their voices combined to complement each other splendidly.
Alan Neilson, Opera Wire, 26 August 2021
Sergey Romanovsky shows us a Leicester with great class. The voice is both virile and supple […] the baritone timbre is silky and the high notes are beyond reproach. In addition, he deals well with the whims of the staging that make him start his magnificent aria “Fallace fu il content” from behind and then continue it…lying down.
Paul Fourier, Toute La Culture, 16 August 2021
Sergey Romanovsky’s Leicester is a Nozzari-style baritenor, with a solid upper register, a rich lower register, an attractive voice and a familiarity with Rossinian style.
Didier Van Moere, Diapason, 16 August 2021
The tenor Sergey Romanovsky, well known at the Rossini Opera Festival, shows us a Leicester with great vocal resources at his disposal. The Russian singer, with an interesting baritonal timbre and an impressive instrument, knows how to use the whole breadth of his vocal resources to present a magnificent character who stood out, especially in the second act.
Aleix Palau, Revista Musical Catalana, 23 August 2021
Rossini's Elisabetta, regina d'Inghilterra (Leicester)
Théâtre de la Monnaie, March 2021
Sergey Romanovsky in the role of Leicester presents a restrained and dignified voice, deep and indolent, while expressing himself with great momentum
Soline Heurtebise, Olyrix, 12 March 2021
The tenor Sergey Romanovsky plays a Leicester who is enamoured and a little vaporous [...] the tone is smooth, the legato very studied and mastered
Benedict Hévry, ResMusica, 14 March 2021
[Romanovsky] knows never to interrupt the line [...] the aria flows with appreciable ease
Christophe Rizoud, Forum Opéra, 14 March 2021
Remote Voices Gala Concert
Wexford Festival Opera, October 2020
The obvious highlight of the festival was the Gala Concert […] most exciting was Sergey Romanovsky sailing through the tenor stratospherics from Rossini’s Guillaume Tell.
Opera Now, January-February 2021
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
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