Ildar Abdrazakov Profile Photo

Ildar Abdrazakov

Ildar Abdrazakov has established himself as one of opera’s most sought-after basses. Since making his debut at the Teatro alla Scala in Milan in 2001 at 25, the Russian native has become a mainstay at leading houses worldwide, including New York’s Metropolitan Opera, Paris National Opera, the Vienna State Opera and Munich’s Bavarian State Opera. His powerful yet refined voice coupled with his compelling stage presence have prompted critics to hail him as a “sensational bass … who has just about everything – imposing sound, beautiful legato, oodles of finesse” (The Independent). Being also an active concert artist, he has performed at London’s BBC Proms and at New York’s Carnegie Hall, as well as with leading international orchestras, including the Chicago Symphony Orchestra and the Vienna Philharmonic.

Latest News:

  • 14.06.2016 - Ildar Abdrazakov - critical acclaim for La Scala recital

  • "Why don’t more singers use the full dynamic potential of their voices? Ildar Abdrazakov’s recital at La Scala was a lesson in dynamic contrast, bewitching his audience with long-held and perfectly controlled wisps of sound, and then thrilling them with full throttle blasts coloured by his fine bass timbre. Add to that his beautiful phrasing, superbly enunciated Italian and engaging personality and the result was a concert to remember… this time, for all the right reasons!

    He, too, was pleased to return to La Scala’s stage which witnessed his early performances when he was in his mid-twenties, but the 40-year-old hasn’t sung here for the last decade: “It’s good to be here”, he said before starting his programme.

    An all-Russian first part – Glinka, Rubinstein, Mussorgsky – included a beautifully executed performance of Rubinstein’s phenomenally tricky ninth song in his cycle of Twelve Persian Love Songs. The audience was spellbound with Abdrazakov’s ever increasing piani as he rose into falsetto. An exquisite song, exquisitely sung.

    The second half of the programme hopped around the Italian composers from Donizetti to the slightly slushy Cesare Andrea Bixio, assigning them one song each. This panorama of canzoni allowed Abdrazakov to show off his mastery of the Italian language and style, something so rare for singers from Eastern Europe. Donizetti’s Viva il matrimonio was dedicated to Abdrazakov’s new wife, and Zandonai’s La Cinquecento e nove “I dedicate to all Italians. In Russia we have the Lada, but you gave the world the FIAT!” Zandonai’s song, which celebrates the FIAT 509, a model sold in the 1920s, had Abdrazakov grabbing his music stand like a steering wheel. Leoncavallo’s Ave Maria was captivating, again making the most of the communicative power of softly whispered notes… in hora mortis nostrae . . . 

    Generous encores – the fiendishly difficult aria and cabaletta from Ernani as well as those from Attila – were wound up with an impressively dramatic quick-fire rendition of The Barber of Seville’s La calunnia."


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