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.

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  • 08.01.2018 - Ildar Abdrazakov: Le Nozze di Figaro review

  • Not to be overlooked by any stretch of the imagination were the interpretations of the two leading men who cut quite opposing figures throughout the night. Whereas Ildar Abdrazakov played up Figaro as an aloof and genial relaxed fellow, Mariusz Kwiecien’s Count was an abusive hothead. Abdrazakov was finely attuned to Sierra’s vibrant energy playing it up with similar energy and even going a bit overboard at others. Upon revealing his plan to dupe the Count to Susanna and the Countess he got up and did a little dance for the audience, to raucous applause. It was delightful though a bit strange within the context. This was emblematic of his performance in the comedic moments for sure, though it hardly detracted from his more nuanced displays. These were, of course, the points where Figaro is feeling defeated. “Si vuol ballare” was far from a playful tune, but one filled with increasing aggression. You could feel the bass accenting each “Si” more and more. The first “Si vuol ballare” was light in its approach while the reprisal, softer in tone, was more emphatic in its phrasing. The final aria, wherein Figaro laments the betrayal of his wife was also dark and rough in its portrayal. Abdrazakov had spent the entire evening with brightness in his singing that to suddenly hear the lower reaches in a more jagged quality was surprising and also enriching to the portrayal. We could feel a darker side to Figaro emphasizing the fact that this opera, for all its comedic genius, has a far greater complexity in its characterization and thematic development.

    OperaWire

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