"Ukrainian baritone Yuriy Yurchuk was superb as Marcello, his acting convincing, his rich voice sometimes strident, sometimes seductively mellow."
"It was a tantalising sample of Yurchuk’s velvety dark sound, and his fine way with a lyrical line"
"... the finest voice on stage belongs to Yuriy Yurchuk, who sings Rodolfo's aria with immaculate Italianate line."
"Yuriy Yurchuk sang with a sonorous baritone and menacing demeanor as the four villains."
New York Times
Described as "the finest voice on stage ...with the immaculate Italianate line" (The Times) and "a rich, deep voice capable of great versatility" (Bachtrack), Ukrainian baritone Yuriy Yurchuk was a member of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden from 2014-16, and a Royal Opera Principal from 2016-17.
In the 2022/23 season he sings Germont La Traviata for Northern Ireland Opera and title role Eugene Onegin for La Monnaie. He also sings Rachmaninov The Bells with Philharmonia Orchestra.
For the Royal Opera House he has sung Angelotti Tosca, Baron Douphol La traviata, Marcello La bohème, Blazes The Lighthouse, Germano La Scala di Seta, Dumas Andrea Chénier, Prince Yamadori Madama Butterfly, Mandarin Turandot, Flemish Deputy Don Carlo, Johann Werther, Schlemil Les Contes d’Hoffmann, and various roles in The Nose. He has also covered title role Don Giovanni, Giorgio Germont La traviata, Rodrigo Don Carlo, Escamillo Carmen, Sharpless Madama Butterfly, Schaunard La bohème, Alfio Cavalleria Rusticana, Yeletsky The Queen of Spades, Andrey Shchelkalov Boris Godunov, Créon Oedipe, King L'Ange De Nisida, Don Fernando Fidelio and Stárek Jenůfa.
Other operatic engagements include Marcello La bohème (Northern Ireland Opera, Opernhaus Zürich, Opera North, DePaul Opera Theatre); Carlo Gérard Andrea Chénier (Chelsea Opera Group); Count Rodolfo in Foroni’s Margherita (Wexford Festival Opera), title role Eugene Onegin (Ukraine National Opera), Lescaut Manon and Ping Turandot (Opernhaus Zürich); Ford Falstaff (Chicago); Four Villains Les Contes D’Hoffmann (Prelude to Performance program in New York); and Constable and Narrator in Kurt Weill’s Threepenny Opera (DePaul Opera Theatre).
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 Buckingham Palace and Windsor Castle, and appearances in BBC TV series and on BBC Radio 3’s In Tune.
Yurchuk has recorded a collection of Rimsky-Korsakov romances with Anush Hovhannisyan and Sergey Rybin for Stone Records where he was praised for his "wonderful legato and superb Russian delivery that make this collection irresistible" (Sunday Times).
Born in Kiev, Ukraine, Yurchuk discovered his passion for Opera after coming to Chicago and meeting professor Marc Alon Embree, and studied Vocal Performance at DePaul University School of Music. Before embarking on a career as a singer he was a M&A financial advisor with PwC for eight years, and holds Bachelor and Masters degrees in finance and accounting from Kyiv National Economic University.
This biography is for information only and should not be reproduced.
Andrea Chénier (Carlo Gérard), Chelsea Opera Group
QEH (May 2022)
...it was arguably the singer that took the part of Carlo Gérard that lingered most in the memory: the Ukrainian baritone Yuriy Yurchuk. [...] Yurchuk absolutely owned the role of Gérard, his voice beautifully resonant and commanding, never drowned by the orchestra’s considerable forces. He acted the role well, too (despite the concert staging, he was clearly involved in the ongoing action); in his hands, Gérard became a major player at least on the level of Chénier himself.
Colin Clarke, Seen and Heard International
Baritone Yuriy Yurchuk created a truly persuasive and engaging portrait: as he stared, frowning, into the middle distance (entirely off-score), and sang with pained but noble expression of his frustration and moral bewilderment, there could be no doubting Gérard’s introspective agony nor his essential integrity, however flawed his actions. As he struggled to compose an indictment against Chénier, the sparse instrumentation revealed his anguish. His epiphanic recognition of the hate-fuelling self-destructiveness of his own jealousy, ‘Nemico della patria? … Un dì m’era di gioia’ – the highlight of the evening for me – conveyed anger, pride, self-castigation and was sung with elegant fervour and glorious freedom of line.
Claire Seymour, Opera Today
La Traviata (Baron Duphol)
Royal Opera House, April 2022
In a solid supporting cast Yuriy Yurchuk as Baron Duphol made more of this cipher character than most baritones achieve..
Mark Valencia, What's on Stage
In a strong cast, Stephanie Wake-Edwards's flamboyant Flora, friend to Violetta, and Yuriy Yurchuk's sober baron have character.
Claudia Pritchard, Culture Whisper
Royal Opera House, December 2021
...the escaped prisoner and former consul of the Roman Republic, Angelotti (a small part wonderfully sung by Ukrainian baritone Yuriy Yurchuk).
Mark Ronan, The Article
La bohème (Marcello)
Northern Ireland Opera, September 2021
Yuriy Yurchuk's scene-stealing Marcello proved the night's most charismatic character.
Michael Quinn, Opera Magazine
Yuriy Yurchuk, as fiery lover but compassionate friend Marcello, is particularly compelling.
Sarah McCleave, Opera Now *****
…the sparky relationship between Yuriy Yurchuk’s swaggering Marcello and Emma Morwood’s pert Musetta feels authentic and true to the magic of Puccini’s melting score.
Jane Coyle, The Stage
...Yuriy Yurchuk makes a characterful Marcello...
Richard Morrison, The Times
[Musetta’s] admirer Marcello, Ukrainian baritone Yuriy Yurchuk, is certainly another voice to watch…
David Byers, The Irish Times
Performance with Antonio Pappano (piano)
Snape Maltings, August 2020
Here Pappano turned pianist to accompany the Ukrainian baritone Yuriy Yurchuk in songs by Georgy Sviridov and Rimsky-Korsakov, and Yeletsky’s aria from Tchaikovsky’s Queen of Spades. It was a tantalising sample of Yurchuk’s velvety dark sound, and his fine way with a lyrical line.
Andrew Clements, The Guardian, 30 August 2020
Pappano inaugurated [the Momentum scheme] in this concert, accompanying at the piano the Ukrainian baritone Yuriy Yurchuk in three Russian numbers. Yurchuk has a glorious voice, with power and a rich smooth tone from top to bottom.
Richard Morrison, The Times, 31 August 2020
[Pappano] took the opportunity to inaugurate Momentum, a post-Covid scheme set up by the singer-conductor Barbara Hannigan to support young artists. A top musician invites a rising talent to share their platform. Pappano chose the golden-toned Ukrainian baritone Yuriy Yurchuk, joining him as pianist in three Russian arias including Yeletsky’s painful declaration of love from Tchaikovsky’s The Queen of Spades – a surprise addition to a programme of Britten and Schoenberg. Yurchuk won huge cheers; 160 people (instead of the capacity 800) can make good noise.
Fiona Maddocks, The Guardian, 5 September 2020
La bohème (Marcello)
Opernhaus Zurich, March 2020
Yuriy Yurchuk as Marcello, with a very engaging interpretation, both from a musical and a theatrical point of view. His smooth, well projected baritone was enjoyable, and his acting appealing: when he was trying to resist Musetta’s seduction he was irresistibly funny.
Laura Servidei, Bachtrack, 10 March 2020
…in stepped forceful Ukrainian baritone Yuriy Yurchuk, who, as Marcello, was splendid throughout.
John Rhodes, Seen and Heard International, 9 March 2020
La bohème (Marcello)
Opera North, October 2019
Ukrainian baritone Yuriy Yurchuk was superb as Marcello, his acting convincing, his rich voice sometimes strident, sometimes seductively mellow.
Richard Wilcocks, Bachtrack, 13 October 2019
Marcello is played by Ukrainian baritone Yuriy Yurchuk. He carries the role with confidence, conviction and lean energy, and his singing is rich and powerful.
The Culture Vulture, 15 October 2019
Marcello, a painter, and a sympathetic friend to Mimi, is sung and played with consummate ease by Ukrainian baritone Yuriy Yurchuk.
Sandra Callard, On Magazine, October 2019
The multinational cast is exceptional, with Anush Hovhannisyan, making her Opera North debut as a flirty Musetta, nicely playing off Ukrainian baritone Yuriy Yurchuk as Marcello..
John Murphy, The Stage, 16 October 2019
Yuriy Yurchuk's smooth-toned Marcello...
Geoffrey Mogridge, Ilkley Gazette, 21 October 2019
Also performing for Opera North for the first time are Ukrainian baritone, Yuriy Yurchuk, playing Marcello, jealous yet sincerely in love with the flighty but calculating Musetta... A very fine moment, in an evening of very fine moments.
Tom Tollett, The State of the Arts, 18 October 2019
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
Foroni's Margherita (Count Rodolfo)
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
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
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