London based British-Ukrainian baritone Yuriy Yurchuk has been described by The Times as "the finest voice on stage, with the immaculate Italianate line" and by Bachtrack as possessing a "rich, deep voice capable of great versatility."
Yuriy principal roles include the title role in Eugene Onegin, Marcello (La bohème), Michele (Il tabarro), Scarpia (Tosca), Robert (Iolanta), Giorgio Germont (La traviata), Rodrigo Posa (Don Carlo), Renato (Un ballo in maschera), Conte di Luna (Il trovatore), Carlo Gérard (Andrea Chénier), Lescaut (Manon Lescaut), the title role in Don Giovanni, Count Rodolfo (Margherita), Ford (Falstaff), Escamillo (Carmen), and the Four Villains (Les Contes d'Hoffmann).
Yuriy has sung for major international companies, including the Royal Opera House Covent Garden, La Monnaie Brussels, Royal Danish Opera Copenhagen, New National Theatre Tokyo, Opernhaus Zürich, Finnish National Opera, Savonlinna Opera Festival, Wexford Festival Opera, Opera North, Northern Ireland Opera, National Opera of Ukraine, and Opéra de Baugé.
On the concert platform, Yuriy has appeared with the Royal Philharmonic Orchestra, the Bournemouth Symphony Orchestra, Philharmonia Orchestra, the Finnish Radio Symphony Orchestra, the Chelsea Opera Group, the Württembergische Philharmonie Reutlingen, and in recital with Sir Antonio Pappano at Snape Maltings.
Yuriy is a prize winner at the Queen Sonja International Singing Competition (Norway), Montserrat Caballé 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.
His other appearances include the King of Egypt in a Verdi Aida excerpt in tribute to Martina Arroyo at the 36th Kennedy Center Honors in Washington DC, concerts for the Royal Family at Buckingham and Windsor palaces, and appearances on BBC television and on BBC Radio 3's In Tune with Sean Rafferty.
Yuriy features as Assuérus in the world premiere recording of Thomas de Hartmann's lost opera Esther with the Bournemouth Symphony Orchestra under Kirill Karabits, released on Pentatone. Together with Anush Hovhannisyan and Sergei Rybin, Yuriy also recorded a collection of Rimsky-Korsakov romances for Stone Records — praised by the Sunday Times for the "wonderful legato and superb Russian delivery that make this collection irresistible."
As a member of the prestigious Royal Opera House Jette Parker Young Artist Programme, Yuriy sang Schlemil in Les Contes d'Hoffmann, Baron Douphol in La traviata, Prince Yamadori in Madama Butterfly, the Flemish Deputy in Don Carlo, the Mandarin in Turandot, roles in The Nose, Onegin in Eugene Onegin, Blazes in The Lighthouse, Germano in La scala di seta, Angelotti in Tosca, Michonet in Adriana Lecouvreur, Dumas in Andrea Chénier, and Johann in Werther.
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Don Carlos (Title Role)
Opera de Bauge
“Also exceptional is the Rodrigo of the Ukrainian baritone Yuriy Yurchuk, who evokes the glorious memories of Bruson or Cappuccilli: that is to demonstrate at what vocal heights we are talking. He shines in this constantly moving role of a torn friend, a sacrificed friend: timbre of a true Verdi baritone, dazzling projection, admirable phrasing, line held without weakness, everything is sumptuous – and his death is one of the great moments of the third act.”
Opera Online
“Yuriy Yurchuk’s Rodrigo (Marquis of Posa - Renato last year) is no less moving in his humanity. His uprightness, his unwavering moral requirement will lead him to sacrifice himself for his friend Don Carlo. The British-Ukrainian, an authentic Verdian baritone, puts his courage, his projection, at the service of this empathetic, proud character, whose generosity equals his courage. The voice is impressive, the breadth, a flawless technical mastery, real qualities of phrasing, a warm timbre illustrate the ardour of the friend’s convictions."
Forum Opera
Eugene Onegin (Title Role)
Northern Ireland Opera
“Ukraine-born baritone Yuriy Yurchuk, a former Jette Parker young artist at the Royal Opera, returned to the company (he was Giorgio Germont in La Traviata) to sing the title role: rich-toned and offering a stylish line in callous disdain.”
The Guardian
“In the title role, the charismatic Ukrainian baritone Yuriy Yurchuk cuts an imposing, debonair figure, who revels in breaking hearts and causing conflict. When the tables unexpectedly turn, it is agonising to watch him disintegrate into a lost man, broken on the wheel of his own vanity.”
The Stage
“Ukraine-born Yuriy Yurchuk has a lovely, lyrical baritone and captures Onegin's journey from haughty superiority to the brokenness of the final duet”
The Times
“The Ukrainian baritone Yuriy Yurchuk is an ideal Eugene Onégin, assuming a supercilious and smarmy persona, before understanding the error of his ways, only to get his comeuppance. The voice is ideal, with warm even tone, great quality and an assured easy production.”
The Irish Times
“Baritone Yuriy Yurchuk cut a suave and confident impression as Onégin. He characterized him as a gentleman with a strong sense of entitlement, his treatment of Tatyana in the first act was brutal, as he delivered his rejection with an air of cold indifference and a slight hint of sadistic delight. Certainly, his calculated flirting with Olga, which he knew would upset Lensky, fitted neatly into his portrayal. This was supported by his carefully crafted vocal rendition, which was lyrically refined, confident, beautifully controlled and, at times, emotionally distant, giving Onégin an aloof, egocentric quality, and regardless of fault, he would obviously never have apologized to Lensky.
The reversal of his feelings towards Tatyana in Act three was made all the more powerful by the indifference and emotional detachment he had displayed up to this point. In typical Romantic style, his emotions now exploded as he prostrated himself on the floor before Tatyana and begged that she accept his love. Possibly, it went a little too far; maybe the contrast was too much, but Yurchuk’s singing was excellent, as he furnished the voice with a passionate intensity that hitherto had been kept in check. It made for a stunning finale.”
Operawire
“Ukrainian baritone, Yuriy Yurchuk, captured the charm and haughty arrogance of Onegin to perfection in the early scenes. There was a striking contrast with the distraught, disheveled character who we saw languishing at Tatyana’s feet in the final scene. His voice was powerful and imposing at various points rising above big orchestral forces, but he was also sensual and lyrical and blended beautifully with the other performers in the ensemble scenes. His final duet with Mary McCabe’s Tatyana was thrilling both dramatically and musically and his final cries were devastating.”
Seen and Heard
“Yuriy Yurchuk, one of the best baritones around whose trademark role this is, delivered it with the right amount of scorn and maybe a bit of genuine concern for the young lady’s honor. For example, vocally, he was very good.”
The Belfast Times
Marcello / La Boheme
Opera North
"Marcello is Yuriy Yurchuk, returning to the role he sang for Opera North six years ago – his baritone has a blendable quality that works well in this piece’s ensembles, and he carries the part with devil-may-care assurance"
The Arts Desk
"Yuriy Yurchuk’s Marcello, though, might have stolen my heart entirely. I’ve always had a soft spot for baritones and his voice had that burnished quality that lives somewhere between silk and smoke."
Northern Arts Review
"Yuriy Yurchuk as Marcello gave us a touch of earthiness, grit, and power as Marcello’s emotions often overpowered sense, making this a grounded, hunkered down performance that was sprinkled with a flavourful unpredictability."
Manchester Theatres
"Baritone Yuriy Yurchuk as Marcello had a forceful lyrical presence, his rich voice complementing that of soprano Elin Pritchard very well."
Leeds Living
"Ukrainian baritone Yuriy Yurchuk, as the volatile Marcello, sang with elegance and ignited the flames of jealousy in his Act lll bust-up with Elin Pritchard’s skittish, heart-of-gold Musetta."
Ilkley Gazette
"Yuriy Yurchuk offered a wonderfully grounded Marcello: warm, witty, and vocally assured."
Jadar
Thomas de Hartmann's Esther / Bournemouth Symphony Orchestra, The Grange Festival
The Grange Festival
"Yuriy Yurchuk is on sonorous form as the uxorious monarch, whose tender Act Three attempt to get his anxious wife to open up is one of the loveliest passages in the score."
PrestoMusic
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