Denis Sedov

7/26/2019 Denis Sedov

1/23

Denis Sedov

bass

Born in St.Peterburg, Mr.Sedov holds a degree from Jerusalem Academy. He was amember of Young Artist Program at the Metroolitan !era, where he made his debutin "ordani#s $edora in a cast with P.%omingo and M. $reni.

Since then he aeared at &a Scala,'ovent "arden, (he M)(, !era deParis, (eatro 'olon Buenos Aires,Santiago de 'hile, San $rancisco!era, &a Monnaie Bru*elles,Maggio Musicale $iorentino, (eatro+eggio (urin and many others.

Mr.Sedov#s concert reertoireincludes erformances with

Bayrische +undfun -Munich, &osAngeles Philharmonic, 'leveland,Atlanta and San $rancisco symhony ,!rchestre de Paris, +adio $rance,St.Petersburg hilharmonic and aconcert at the oening ceremony of thewinter !lymics in /agano, Jaan.'ollaborating with conductors such asS.!0awa, 1.Ma0ur, +.Muti, P.Boule0,'h.%utoi, A.Paano, 'h.)chenbach, 2.

"ergiev

As a recording artist Mr Sedovreleased3

Handel#s Ariodante -%eutche "rammohon Archive, Berlio0 double '% +omeo andJuliette, &es /uites d#)te -also on %", +ossini Maometto 44 -/a*os, Puccini#s &aBoheme -(elarc, P.)otvos# (hree Sisters -%", a %2% of Monteverdi#s ncorona0ionedi Poea and others. %ue for release in the future a %2% of Mahler#s 5 th Symhonie

+ecently3 Ariodante &iceo Barcelona, Mehisto in $aust 'incinnati, 4 Puritani Seattle,

Pearl $ishers 6shington oera, !rlando (eatro Maestran0a Seville

&a Boheme Buenos Aires, Mo0art and Salieri +io de Janeiro, Mahler 5th 'arnegie Hall.

!era /ews hails %enis Sedov for 7tall and commanding, gifted with a slendidhysi8ue and a bass to match9 and his ability to 7seduce with his voice as well aswith his resence.9 His engagements in the :;


2/23

$yodor 'haliain. And both 2erdi#s Missa di +e8uiem and Hundig in 6agner#s 6alurewith or8uestra $ilarmonica de Minas "erais in Bra0il. As well as engagements in 4sraeland 'hina.

Mr. Sedov#s recent international engagements include his debut with the +oyal !eraHouse at 'ovent "arden as $igaro in &e no00e di $igaro, &eorello in %on "iovanniunder the baton of +iccardo Muti at (eatro alla Scala, and 'olline in &a Boh@me atParis !era. Also in Paris, he sang the title role in %on "iovanni and 'ount +odolfo in&a sonnambula at the !ra 'omi8ue and in $lorence. $urther erformances include4l +e di Sco0ia in Ariodante at the "ran (eatre del &iceu in Barcelona, %on Profondo in4l viaggio a +eims with &a Monnaie, (imur in (urandot at !ra de Montral, 1ingHenry 2444 in Anna Bolena in (orino, Selim in 4l (urco in 4talia in Marseille, Mustafa in&4taliana in Algeri with !ra du +hin, 6alter in &uisa Miller in Bordeau*, the tutor in&e 'omte !ry in (oulouse, his (eatro 'olon debut in Buenos Aires as !roveso in/orma, +ossini#s Maometto Secondo in Strassbourg, 'olline in &a Boh@me, moreerformances of Ariodante with &es Musiciens du &ouvre, Sarastro in %ie CauberDEte

in &yon, and $rere &aurent in +omo et Juliette with &!era de Montreal and inSalerno. He has also sung further erformances of Sarastro in %ie CauberDEte andSeneca in Monteverdi#s incorona0ione di Poea at Ai*=en=Provence in a roductionthat he reeated in 2ienna and Paris as well as Somnus in Seneca in Monteverdi#sncorona0ione di Poea at the Soleto $estival dei due Mondi. 'incinnati !era forboth 'olline in &a boh@me and &odovico in !tello and the Atlanta Symhony for the'hamberlain in &e rossignol in Atlanta as well as for erformances at 'arnegie Hall.He also Foins the (eatro 'olon for further erformances of 'olline in &a boh@me,Atlanta !era for Sarastro in %ie CauberDEte, Palm Beach !era for &eorello in %on"iovanni, Asociacion "ayarre Amigos de la !era in Pamlona for )scamillo in

'armen, and 2ancouver Symhony for Mahler#s Symhony /o. 5. He sang /ourabadin &es Gcheur de erles with 6ashington /ational !era, both Coroastr in Handel#s!rlando and Bach#s St. Matthew Passion with Al Ayre )saol, Shostaovich#s Song ofthe $orest at the "rant Par Music $estival, and the world remiere of 'arlos Alberto2a08ue0#s +e8uiem %omesticus at the 'asals $estival in Puerto +ico.

He made his Metroolitan !era debut as /icola in $edora after having been one ofvery few non=American singers ever invited to Foin the comany#s restigious YoungArtist %eveloment Programm. He has since Foined the comany for 'olline in &a

Boheme, !rlic in Ma0ea and on tour in Jaan for its roduction of %on "iovanni.!ther American engagements include "iorgio in 4 Puritani with Seattle !era,)scamillo in 'armen and Achilla in "iulio 'esare with San $rancisco !era, Assur inSemiramide with Minnesota !era, and Mhistohl@s in $aust with 'incinnati!era, and 4l +e in Aida at the Asen Music $estival. He also Foined the AtlantaSymhony !rchestra for erformances of 'olline in &a Boh@me with under the batonof +obert Sano that were recently released on the (elarc label.

He recorded Handel#s Ariodante with Marc Minowsi conducting &es Musiciens du&ouvre -%eutsche "rammohon. He also recorded the role of Soliony in the world

remiere of (rois Soeurs by Peter )EtvEs -%eutsche "rammohon, having originallyerformed by the role at !ra de &yon and the 'hatelet and his recording of Berlio0#+omeo et Juliette with the 'leveland !rchestra conducted by Pierre Boule0 has also


3/23

recently been released on the %eutsche "rammohon label.

%enis Sedov is an e8ually engaging concert singer, recently Foining 'hristoh)schenbach and the !rchestre de Paris for Mahler#s Symhony /o. 5 -erformancesof which have been released commercially on %2% as well as the Iuebec Symhonyfor the same wor. Audiences at the Soleto $estival heard his erformances

Mendelssohn#s )liFah and Berlio0#s )nfance du 'hrist. He sang Haydn#s 'reation forthe 2laamse !era in Antwer with Minowsi conducting and in Bordeau*. (he bassmade his &os Angeles Philharmonic debut singing the 2erdi +e8uiem, his debut withthe San $rancisco Symhony with Beethoven#s Symhony /o. . He has alsoaeared with maFor orchestras throughout 4srael including the 4srael Philharmonic!rchestra in Berlio0# %amnation of $aust and 2erdi#s !tello under the baton ofPaano. A worldwide audience of television viewers saw Mr. Sedov sing theBeethoven#s Symhony /o. in Jaan conducted by SeiFi !0awa as art of the winter!lymics in


4/23

&eorello

'ommendatore

Masetto

Bellini Sonnambula 4l 'onte

/orma !roveso

4 Puritani "eorgio

'auletti 4 Montechi 'aulet

%oni0etti Anna Bolena )nrico 2444

2erdi &uisa Miller 6alter

+igoletto Sarafucile

!tello &udovico

Puccini &a Boheme 'olline

(urandot (imur

Bi0et 'armen )scamillo

Pearl $ishers /ourbad

"ounoud $aust Mehisto

+omeo et Juliette $raire &aurent

'haiovsy !negin "remin

4olanta 1ing +ene

+imsy 1orsaov (sar#s Bride Sobaine

Mo0art and Salieri Salieri

Stravinsy +ossignol 'hamberlain

!edius +e* (iresias

Pulcinella

6agner 6alureHundig

Concert repertoire (large format)

Haydn 'reation - ger.Keng

Bach St. Matteus

H=moll mass


5/23

'hristmas !ratorio

Bass 'antatas

Berlio0 +omeo et Juliette $r. &aurent

)nfance du 'hrist Herode, Pere

Beethoven th

Britten 6ar +e8uiem Bariton

Mendelsohn )liFah - eng.K ger

Mahler 5th Pater Profundus

2erdi Missa di +e8uiem Basso

'hostaovich


6/23

restigious Metroolitan !era Young Artist %eveloment Program and has sinceerformed throughout the world3 7!era theaters of Santiago, Buenos Aires, San$rancisco, Metroolitan, 'hicago, 'ovent "arden, !era Paris, &yon, Munich R youname it,9 recounts Sedov, switching from language to language R he is Duent in si*.

7(he role in Puccini#sLa Bohemeis my favorite because this oera is both dramaticand musically rich. 4 have also articiated in eight dierent roductions of this oera

and will sing in the ninth in Aril in 'alifornia. 4 also love +ossini#s oeras, and as 4 amgetting older and more mature, 4 would lie to aroach the more serious 2erdianreertoire,9 says the bass.

His other dream is to sing in Boris "odunov 7if the oera world survives, of course,9he adds. 7(he oera world is going through the hard times,9 he elaborates. 7!eratheaters are being closed, the seasons are shortened, the budgets are cut, and manysingers are unemloyed. (he other roblem is that there are 8uite a few eole whobecame singers because they have not had anything better to do with their lives.

(hey have a certain nac for it, they are trained, but when roblems start, theyleave the rofession and only those who were born to sing stay. But again, there aremany and they are strong cometition.9

Nnwilling to be deendent on music institutions, esecially in times of crisis, Sedovhas develoed an indeendent career in another musical Teld. 4n addition to hisoeratic and liturgical reertoire, he sings lighter music, accomanying himself onthe guitar. 74 erform a reertoire of +ussian songs and other rograms with a smallensemble. 6e travel everywhere. So we tae o to &atin America and 'anada.

!ur rogram includes Argentinean tango, Bra0ilian samba, /eaolitan songs, $renchchansons, as well as hits by %ean Martin and $ran Sinatra, and 4 enFoy it a lot. 4n myother roFect, 4 erform with my college friend and we lay bossa nova from thereertoires of (om Jobim and Joao "ilberto.9

4n Arad, Sedov will erform +ussian songs and arias from +ussian oeras,accomanied by ianist )lla Passi. (he Petah (iva rogram includes oera arias.

Denis Sedov performs on February 3 at the Dolev Auditorium in Arad; February 4 atthe Sharett Center in Petah Tiva at ! p"m" For reservations# $%4&'(33'))(

htt3KKwww.Fost.comK&ifeStyleKSeductive=Sedov

%enis Sedovbai*o

Eugene negin

U%enis Sedov was an unusually dashing Prince "remin, dislaying Tne legato and arich lower register in his aria.U

'incinnati !era!era /ews

!ucia di !ammermoor

7...the riest +aimondo, sung with amle deth by %enis Sedov...9

Pittsburgh !eraPittsburgh (ribune

Die "auber#$te
http://www.jpost.com/LifeStyle/Seductive-Sedovhttp://www.artematriz.com.br/index.php?option=com_jartists&view=item&id=133:eugene-onegin&Itemid=483&lang=eshttp://www.artematriz.com.br/index.php?option=com_jartists&view=item&id=134:lucia-di-lammermoor&Itemid=483&lang=eshttp://www.artematriz.com.br/index.php?option=com_jartists&view=item&id=135:die-zauberfloete&Itemid=483&lang=eshttp://www.artematriz.com.br/index.php?option=com_jartists&view=item&id=133:eugene-onegin&Itemid=483&lang=eshttp://www.artematriz.com.br/index.php?option=com_jartists&view=item&id=134:lucia-di-lammermoor&Itemid=483&lang=eshttp://www.artematriz.com.br/index.php?option=com_jartists&view=item&id=135:die-zauberfloete&Itemid=483&lang=eshttp://www.jpost.com/LifeStyle/Seductive-Sedov


7/23

7%enis Sedov sang Sarastro with ringing low tones and aeared the veryembodiment of wisdom.9

A%!A&%A !P)+A!era /ews

'aometto

7(all and commanding, gifted with a slendid hysi8ue and a bass to match, %enisSedov -Maometto seduced with his voice as well

as with his resence.9!P)+A %N +H4/, S(+ASSB!N+"!era /ews

'aometto

7%enis Sedov in the title role surrised with his command of coloratura, oering acomlete ortrayal.9

!eraRinaldo

UMr. Sedov, whose hurtling enthusiasm gives bad deeds a winning Davor, ... has anattractive bass and a high=energy charm.U/)6 Y!+1 '4(Y !P)+A/ew Yor (imes

Ariodante

U%enis Sedov left the biggest imression on the ublic. His voice, desite his youthful

aearance, sounded astonishingly mature.U!P)+A %) '&A4+M!/(=$)++A/%+eview=(ranslation &a Montagne

Recital

U(he most remarable musical discovery was +ussian bass %ennis Sedov, who...isdevilishly handsome and dislays a voice of thunderous roclivities...this one reallybrought down the house.UMA+4&Y/ H!+/) $!N/%A(4!/

(he 6estsider

! /avio $antasma :;


8/23

bem alWados aliados X bele0a timbrstica. A atuaWVo cGnica do ai amoroso de Senta convincente e a reali0aWVo da sua Zria 7Mogst du, mei 1ind9 -My child, will youbidL foi muito bela, bem como o dueto entre ele e o holandGs3 76ie[ ist#smoglich9 [LUMarco Ant\nio Seta, movimento.com, setembro :;

htt3KKwww.artematri0.com.brKinde*.h[

otion]com^Fartists_view]artist_layout]ress_4temid]?5>_id]Q?3denis=sedov_lang]es

%esre basul rus Denis Sedov, restigioasa revist` de secialitate !era /ews9aTrm` c` solistul seduce att rin vocea sa ct i rin re0ena T0ic`. %e altfel,!era /ews9 a urm`rit i a consemnat ascensiunea tn`rului solist care colaborea0`cu oere din )uroa i America, rintre care i celebrele Metroolitan !era R /ew

Yor, +oyal !era House R 'ovent "arden, &ondra, (eatro alla Scala Milano, !era dinParis, (eatro 'olon din Buenos Aires, etc. de asemenea sala de concerte 'arnegieHall din /ew Yor rere0int` un unct de referin` n agenda solistului de oer`.

Pentru calit`ile sale scenice i interretative, la debutul carierei sale internaionale acontribuit i Metroolitan !era, inclu0ndu=l n rogramul 7&indemann Young Artist%eveloment9, aoi cootndu=l n reertoriul teatrului.

+eertoriul lui %enis Sedov este imresionant, curin0nd rincialele roluride bas din oere aarinnd tuturor eocilor -de la creaiile lui 'laudio Monteverdin` la oerele lui +ichard 6agner sau 4gor Stravinsi. Aadar, roluri recum $igarodin 7/unta lui $igaro9 sau rolul titular din 7%on "iovanni9 de 6.A. Mo0art, MeTsto din7$aust9 de 'harles "ounod, "remin din 7)vgheni !neghin9 de P.4. 'eaicovsi, Hundigdin 76alyria9 de +ichard 6agner, 'olline din 7&a boheme9 de "iacomo Puccini facarte din almaresul solistului. +eertoriul vocal=simfonic nu a fost ocolit, aa nct%enis Sedov interretea0` i artituri dintr=o alet` larg`, de la oratoriile de J. S. Bach

sau Joseh Haydn i n` la Messa di +e8uiem de "iusee 2erdi sau 6ar +e8uiemde BenFamin Britten.

Mu0ician comle*, %enis Sedov l=a insirat e 'arlos Alberto 2Z08ue0-como0itor din Puerto +ico, unul dintre cei mai areciai como0itori contemoraniai Americii &atine, care a comus ciclul de cntece entru bas i orchestr`7'aribbean )choes9.

(otodat`, solistul este cativat i de alte genuri mu0icale, astfel nctnumele %enis Sedov este ntlnit i e aTele unor concerte susinute de celebraformaie ruseasc` Bis=Iuit al`turi de aceasta, n :;


9/23

Pavel (olsteaov i mu0ic` tradiional` rus`. 'orul 'atedralei Sfntul 4saa din SantPetersburg i=a ctigat, sub bagheta maestrului &ev %unaev, un renume binemeritat

n ultimul deceniu, Tind invitat de onoare la toate marile evenimente culturale din+usia. &a rndul s`u, basul %enis Sedov este o re0en` constant` e marile scenede oer` ale lumii, de la Mariinsi la &a Scala, n` la 'ovent "arden, (he M)(,!era de Paris etc. )venimentul este organi0at de Agenia )vArt, cu sriFinulAmbasadei $ederaiei +use la Bucureti i este lasat sub naltul atronaF al

Mitrooliei Banatului.Denis Sedov

*""" Sedov not only +ave a superb dramati, performan,e but his sin+in+ -asmasterful" .is lon+ le+ato lines -ere ri,h and full of emotion/ and his 0ui, sta,,atolines -ere seemin+ly e1ortlessly moved """*

2pera e-shails %enis Sedov for 7tall and commanding, gifted with a slendidhysi8ue and a bass to match9 and his ability to 7seduce with his voice as well aswith his resence.9 His engagements in the :;


10/23

Symhony !rchestra for erformances of 'olline in !a boh,mewith under the batonof +obert Sano that were recently released on the (elarc label.

He recorded Handel#s Ariodantewith Marc Minowsi conducting &es Musiciens du&ouvre -%eutsche "rammohon. He also recorded the role of Soliony in the worldremiere of %rois Soeursby Peter )EtvEs -%eutsche "rammohon, having originallyerformed by the role at !ra de &yon and the 'hatelet and his recording ofBerlio0# Romo et *uliettewith the 'leveland !rchestra conducted by Pierre Boule0has also recently been released on the %eutsche "rammohon label.

%enis Sedov is an e8ually engaging concert singer, recently Foining 'hristoh)schenbach and the !rchestre de Paris for Mahler#s Symhony /o. 5 -erformancesof which have been released commercially on %2% as well as the Iuebec Symhonyfor the same wor. He has sung Mendelssohn#s Eli5ahand Berlio0#s !enfance duChristat the Soleto $estival N.S.A., Shostaovich#s Song of the 1orestat the"rant Par Music $estival, and the world remiere of 'arlos Alberto2a08ue0#sRe6uiem Domesticusat the 'asals $estival in Puerto +ico. He sangHaydn#s Creationfor the 2laamse !era in Antwer with Minowsi conducting andin Bordeau*. (he bass made his &os Angeles Philharmonic debut singing the2erdi Re6uiem, his debut with the San $rancisco Symhony withBeethoven#s Smphon &o. 7. He has also aeared with maFor orchestrasthroughout 4srael including the 4srael Philharmonic !rchestra in Berlio0# Damnationof 1austand 2erdi#s tellounder the baton of Paano. He sang Coroastr in!rlando and Bach#s St. 'atthe8 3assionwith Al Ayre )saol. A worldwideaudience of television viewers saw Mr. Sedov sing the Beethoven#s Smphon &o.7in Jaan conducted by SeiFi !0awa as art of the winter !lymics in


11/23

Henry the )ighth in Anna Bolena and &eorello in %on "iovanni. 4t would be nice tosee him in the lead role in %on "iovanni. Hell be singing /ourabad in Pearl $ishers atthe 6ashington !era later this year alongside Hunentenor 'harles 'astronovo.

Sedov has what 4 call a beautiful, rolling bass voice. 4t is absolutely soothing to listento and hes not too bad to loo at either.

htt3KKbarihuns.blogsot.roK:;;5K;:Kdenis=sedov=watch=out=dmitri.html

'ephistopheles Debuts in Cincinnati

6atch out for bass %enis Sedov. As an oera singer, his Fob is to Ufool eole,U he said, esecially in "ounodsU$aust,U which oens 'incinnati !eras :;;O summer festival at 5 .m. tonight at

Music Hall. +ussian=born Sedov, >>, sings Mehistoheles in U$aust,U the %evil osing asbenefactor who bargains for the aging hilosohers soul. 4t will be his debut in therole and he intends to mae it vivid. U4 do him as hysical as 4 can,U said Sedov, before a Uiano techU rehearsal at MusicHall last wee -a rehearsal on the set with iano accomaniment, wheretechnical issues such as lighting are wored out. U4 try to bring many oses into thecharacter. He -Mehistoheles is many, many things. He Fust has ahuman coat on him.U Si*=feet=four=inches tall, slender, with iercing eyes and a wiced smile, Sedovromises to be an arresting Mehistoheles. (hough he has been woringon the role since he caught oera artistic director )vans Mirageas eye and ear at an

audition in /ew Yor 'ity two years ago, Sedov is articularly hay tobe maing his debut in the "ounod oera with the artistic team in 'incinnati. (heyinclude conductor Julius +udel, former general director of /ew Yor 'ity!era and guest conductor at 'incinnati !era since the days it erformed at theCoo, and stage director Bernard N0an, former general and artistic director of Montreal!era. Both are old U$austU hands. Metroolitan !era tenor +ichard &eech, who issinging $aust, is well nown for the role. Sorano +uth Ann Swenson sang Margueriteat the Met this sring. U+udel is a great maestro,U said Sedov. UHe had so many little things to say aboutevery single hrase and how should it go and the coloring. 4ts little things that maeall the dierence. (his detailed wor should really be done the Trst time you do arole, for your debut.U Born into a theater family in St. Petersburg -then &eningrad, Sedov began going tothe 1irov -now re=named Mariinsy (heater when he was > years old. UMy arentswere amateur musicians, but they were both woring in the 1irov.U He attended"lina 'hoir 'ollege in St. Petersburg, a famed music school for boys O=


12/23

Jerusalem and Ueole started giving me Fobs as a singer,U he said. He auditioned forthe oera in (el Aviv and was given some cover roles. UActually, the Trst time 4 ever went singing onstage in a rofessional oera -4sraeli!era in (el Aviv 4 went on as a cover -a ind of music understudy. 4was covering 4l "ran Sacerdote -High Priest of Babylon in /abucco -2erdi. 4t was in? and &eo /ucci was singing his Trst /abucco. 4 went on with "hena%imitrova singing Abigaille. (hat was way fun.U

He hasnt looed bac since. $or four summers, he articiated in the restigious 4nternational 2ocal Arts4nstitute in (el Aviv, where he met and wored with some of worlds greatestsingers, conductors and directors. U4 sang for eole there and they said You have tocome and sing for Jimmy at the Met -artistic director, now musicdirector James &evine.U He Foined the Mets Young Artist %eveloment Program, oneof the few non=American singers ever invited to do so. U4t was a great time for me,from Q through O. (hats when 4 made my Met debut.U Sedov has a way of starting at the to.

U(he Trst time 4 went on the Met stage, it came out on %2%. 4t was $edora -byNmberto "iordano in with Placido -%omingo. 4 had a tiny role right atthe beginning of the oera, one of :; singers in the Trst act, which is only minutes

long. 4t was 8uite a ico. 4f you Ustart at the to,U said Sedov, Uyou have to learn to stay at the to. And thatyou can only learn with being in a rofession for years and years andyears.U$$(?

Tall and ,ommandin+/ +ifted -ith a splendid physi0ue and a bass to mat,h/ Denis

Sedov 6aometto? sedu,ed -ith his voi,e as -ell as -ith his presen,e"

Maometto 44, Strassbourg !era 2pera e-s

2pera e-shails %enis Sedov for 7tall and commanding, gifted with a slendidhysi8ue and a bass to match9 and his ability to 7seduce with his voice as well aswith his resence.9 4n the :;=


13/23

in !a boh,me, more erformances of Ariodantewith &es Musiciens du &ouvre,Sarastro in Die "auber#$tewith !ra de &yon, $rere &aurent in Romo et*uliettewith &!ra de Montreal and at the (eatro Municiale "iusee 2erdi diSalerno, and )scamillo in Carmenwith the Asociacion "ayarre Amigos de la !era inPamlona. He has also sung further erformances of Sarastro in Die"auber#$teand Seneca in Monteverdi#s !incorona0ione di 3oppeaat Ai*=en=Provence in a roduction that he reeated in 2ienna and Paris as well as Somnus

inSemeleat the Asen Music $estival.He made his Metroolitan !era debut as 'olline in !a boh,meafter having beenone of very few non=American singers ever invited to Foin the comany#s restigious&indemann Young Artist %eveloment. He has since Foined the comany !rlicin 'a0eppaand on tour in Jaan for its roduction of Don iovanni. !therAmerican engagements include /ourabad in !es p4cheur de perleswith6ashington /ational !era +aimondo in !ucia di !ammermoorwith Pittsburgh!era, "iorgio in puritaniwith Seattle !era )scamillo in Carmenand Achillain iulio Cesarewith San $rancisco !era Sarastro in Die "auber#$tewithAtlanta !era Assur in Semiramidewith Minnesota !era &eorello inDoniovanniwith Palm Beach !era Mhistohl@s in 1aust, "remin in Eugenenegin, 'olline in !a boh,me, and &odovico in tellowith 'incinnati !era and 4l+e in Aidaat the Asen Music $estival.

He recorded Handel#s Ariodantewith Marc Minowsi conducting &es Musiciens du&ouvre -%eutsche "rammohon. He also recorded the role of Soliony in the worldremiere of %rois Soeursby Peter )EtvEs -%eutsche "rammohon, having originallyerformed by the role at !ra de &yon and the 'hatelet. He also Foined the'leveland !rchestra conducted by Pierre Boule0 for Berlio0# Romo et *uliette-alsoon %eutsche "rammohon and the Atlanta Symhony !rchestra for 'olline in !aboh,meconducted by +obert Sano -(elarc.

%enis Sedov is an e8ually engaging concert singer, and recently Foined 'hristoh)schenbach and the !rchestre de Paris for Mahler#sSmphon &o./-erformances of which have been released commercially on %2% as well as theIuebec Symhony and 2ancouver Symhony for the same wor. He has sung'hamberlain in concert erformances of Stravinsy#s !e rossignolwith +obertSano conducting the Atlanta Symhony !rchesra in Atlanta and on tour to 'arnegieHall in addition to Foining the orchestra for +achmanino#s %he +ells. He also alsosung Seder &eader in %essau#s ;agadah Shel 3esachwith the American Symhony!rchestra at 'arnegie Hall, Mendelssohn#sEli5ahand Berlio0#s !enfance duChristat the Soleto $estival N.S.A., Mo0art#s Re6uiemwith the !r8uestra Sinf\nicaBrasileira, Shostaovich#s Song of the 1orest at the "rant Par Music $estival,further erformances of +achmanino#s %he +ellswith the !r8uesta del Palau de la

Musica in 2alencia, ProoTev#s van the %erriblewith the !r8uesta $ilarmjnica deMZlaga, and the world remiere of 'arlos Alberto 2a08ue0#s Re6uiemDomesticusat the 'asals $estival in Puerto +ico. He sang Haydn#s Creationfor the2laamse !era in Antwer with Minowsi conducting and in Bordeau*. (he bassmade his debuts with the &os Angeles Philharmonic singing 2erdi#s Re6uiemand San$rancisco Symhony with Beethoven#s Smphon &o. 7. He has also aeared withmaFor orchestras throughout 4srael including the 4srael Philharmonic !rchestra inBerlio0# Damnation of 1austand 2erdi#s tellounder the baton of Paano. Hesang Coroastr in !rlando and Bach#s St. 'atthe8 3assionwith Al Ayre )saol. Aworldwide audience of television viewers saw Mr. Sedov sing theBeethoven#s Smphon &o. 7 in Jaan conducted by SeiFi !0awa as art of thewinter !lymics in


14/23

%enis Sedov made his debut at Seattle !era as $igaro in the


15/23

+eview3 PaciTc Symhonys &a Boh@me mars Tne return to oera

2ran+e County ba, in the opera +ame -ith HLa BohmeH and a beautiful

performan,e by the Pa,i


16/23

U&a BohemeU with 'arl St.'lair and the PaciTc Symhony +ene and HenrySegerstrom 'oncert Hall ;; (own 'enter %rive, 'osta Mesa 5 .m. Saturday and

(uesday :Q=


17/23

o Andre8 Clementso theguardian.com, Monday :O August :;;< ;;.;; BS(

Since it was Trst erformed in &yons in


18/23

&es /uits dt, !.O %enis Sedov -bass

(he 'leveland !rchestra 'horus(he 'leveland !rchestraPierre Boule0

+ecorded in May :;;;, MasonicAuditorium, 'leveland

%" ?O? :>O=: -: '%s : hours ? minutes

&ie so many of his wors, Berlio0s +omo et Juliette is not easily deTned orcategorised. %escribed by the comoser as a %ramatic Symhony, it isnevertheless a hybrid iece with elements of cantata and oera alongside theurely symhonic. (he sorano and tenor soloists are heard only in thePrologue, Strohes and Scher0etto, and then comaratively brieDy R the tenoresecially so. (he bass has an e*tended, indeed named role R P@re &aurence Rand aears solely in the Tnale where the full chorus is also heard for the Trsttime. 4n the Prologue, a semi=chorus sings largely in a recitative=lie manner,setting the scene and outlining the tale. (wo ostage male choruses sing asthey leave the 'aulets ball at the start of art two, and a chorus of 'auletslament Juliets demise. But the most substantial of the seven movements arethe urely orchestral ones, and these have often been e*tracted from the wholewor and, in fact, recorded more fre8uently than the comlete symhony.

Pierre Boule0, in his Trst recording of Berlio0#s +omo et Juliette, sees toemhasise the symhonic asects of this disarate iece. (hematic material isresented with meticulous lucidity, and one can follow the threads of the

musical argument with unusual clarity. (hus the oening, with its bristling fugueand subse8uent brass ronouncements -reresenting the Tghting families andthe Prince of 2eronas intervention, sounds less lie incidental music than agenuinely introductory symhonic movement. (he choral recitatives that followare delivered in a matter=of=fact manner eective enough, though a little moreDe*ibility would not have gone amiss. (he orchestral interFections arecharacterful, and the coda in which +omeo is reorted to reveal himself to Julietis given with due rature, as beTts the Aassionato maring in the score.

Although not the contralto seciTed by Berlio0, sorano Melanie %iener singsthe strohes with a beguiling e*ression, accomanied by li8uid har andalitating winds and, in the second stan0a, the cellos add their ardent counter=

melody with imeccable hrasing. 1enneth (arver is nimble R as is Boule0 R inthe Mab Scher0etto, if without 8uite the ideal lightness of characterisation thatcan be found in native $rench singers, such as Jean %uouy on SeiFi !0awasBoston recording, also on %". 6ith these vocal sections, the Prologue concludesand the orchestra=dominated symhonic ortions begin.

Part (wo, commencing with +omeo alone# and culminating in the Ball, is initiallygiven a remote, otherworldly 8uality from the violins, who trace theirmelancholy line without e*cessive vibrato. $ollowing an e*8uisite oboe solo, asanimation and colour increase, Boule0 gathers the various elements togetherand gives a reading of the Ball music of magniTcent oulence. And when the+omeo theme is heard in counteroint on brass -strong, but not blaring, thesense of thematic R as well as dramatic R culmination is overwhelming.

(he ostage male voices, reresenting the dearting revellers, at the start of


19/23

the &ove Scene are acoustically well=laced, and the main body of this Adagiomovement is given a Dowing reading with, as might be e*ected of Boule0,details of scoring maing their telling oints. 4deally, a little more ardour andoen=hearted assion would have conveyed the e*ression of this assionatemusic even more. Here the accomanying vibrations need to be more than Fustrhythmic ulsing, but the reading has its own urose, and Tts with Boule0ssymhonically orientated concetion.

(he urely orchestral Iueen Mab# Scher0o is deftly layed and brilliantlyconducted. (he Deet=footed scoring R surely unrecedented in symhonic musicR 4s realised as comletely as one could wish, and the instrumental detailsranging from delicate hars and tinling anti8ue cymbals to snoring bassoonsregister most vividly.

(he chorus maes a re=aearance for Juliets cort@ge. 4ts tolling chant,accomanied by lamenting strings R later the roles are ingeniously reversed Rrecalls a similar device emloyed by Berlio0 in the !ertorium# movement ofhis "rande Messe des Morts. (here is a danger that this movement can outstayits welcome, but Boule0 ensures that the musics momentum is maintained bytaing heed of the non troo lento maring.

(he enultimate movement is the most closely lined with the dramatic action,with brief hrases deicting seciTc incidents such as Juliets awaening and+omeos raturous reaction, and concluding with the death of the lovers. Someof this music is downright strange, with a 8uasi=e*ressionistic character, andBoule0 catures this aroriately, without unnecessary e*aggeration.

(he Tnale is sometimes considered something of a letdown after the teeminginvention that recedes it. Berlio0 constructs what might be termed a ratherconventional oeratic scene. And oeratic in the genre of $rench "rand !era#

such as Meyerbeer made his own in Paris during Berlio0s lifetime. But Berlio0ssense of drama is, of course, ersonal and his orchestral characterisation, inarticular, is in a dierent league from those of his more commonlacecontemoraries. (he still=8uarrelling families are deicted with music thatrecalls the Prologue and, eventually, the reconciliation is deicted in a grand,lu*uriant manner. (he bass soloist has an imortant art to lay, and erhas%enis Sedov is mite too youthful sounding for the gravity of P@re &aurence#sauthoritative utterances.

/evertheless, this Tnal movement does not disaoint and draws adistinguished reading of the whole symhony to a rousing conclusion. Boule0does not over=hye the drama his concetion is one of thorough integrity and is

a distinguished addition to this wors discograhy.

Most recordings of +omo et Juliette stand alone, but Boule0 has an imortantbonus with the resence of &es /uits dt, arguably the Trst orchestral song=cycle, although Berlio0 does not seem to have ever erformed the worcomlete. 4nstead, individual songs were included in his concerts, with vocalarts tailor=made for seciTc singers. Although we are used to rimarily hearingthe &es /uits dt with a single singer, this was not the comosers intention.Boule0s aroach is a comromise since, strictly seaing, only two of the si*songs as erformed on this recording conform with the voice=tye seciTed bythe comoser R 7Absence9 and 7Au cimeti@re9, 1enneth (arver the e*ressive

tenor. A sorano is not called for at all, but Melanie %iener is delightful in theoening 72illanelle9 and e*hilarating in the concluding 7&le inconnue9 R bothsongs seciTed as being for me00o=sorano or tenor. Bass %enis Sedov taesthe contralto second song 7&a Sectre de la rose9 and the baritone -or me00o=


20/23

sorano or contralto third, 7Sur les lagunes9. His lugubrious delivery is notreally ideally suited to either, and some low notes are rather wanting in focus.

4t might seem odd to commend a erformance of songs because of theiraccomaniment, but Boule0s realisation of Berlio0s orchestration is instructiveand aecting in itself. $rom the delicacy of 72illanelle9, to the oignancy of7Absence9 and the windswet seascae of the 7&le inconnue9, Boule0 does not

disaoint. (he erformances, as ever with this musician, have been rearedwith scruulous care. 4n site of Berlio0s multi=voice concetion, it would befoolish to dismiss the now=established ractice of a single singer R Janet Baerwith Barbirolli -)M4 or Susan "raham with John /elson -Sony. (he latter is alovely reading and is couled with arias and scenes from Berlio0 oeras. $or amore authentic realisation of Berlio0s vocal assignations, one can turn to 'olin%avis -Philis, though there is some variable singing and the laying does nothave the Tnesse of the 'leveland !rchestra, which lays suerbly throughout.

My only real disaointment with Boule0#s issues is that some of the balance Rarticularly in +omo et Juliette R sounds artiTcial winds and solo voices areoccasionally too close, and a little more air around the ensemble generallywould have been welcome. Having said which, the acoustic does seem to oenout very well for the symhony#s last movement.

All told, then, this is a highly recommendable release, one deserving a lace onthe shelves of admirers of Hector Berlio0 and Pierre Boule0.

htt3KKwww.classicalsource.comKdb^controlKdb^rint^concert.h[id]


21/23

even hardened oera aTcionados listen, even if in secret3 there is always thatimossible susension of nowledge and reality and that hoe that this is theerformance when the love of two charmingly struggling young Bohemians willcon8uer death. (here is in Sano#s erformance a disarmingly nave clinging tohoe that both bolsters the inner acts of the oera and underlines the tragedyof Mim#s death all the more eectively. 4n this erformance, Bohmeemergesas what it emhatically is3 a beautifully romantic tale with a sudden, annihilating

tragic ending. 2illa0jn understood this in the %"" erformance but was singinginto a veritable void. Sano and all his cast fully comrehend the nature of thescore and collectively touch the heart endearingly, defying the fact that thismay be the thousandth time one has heard the oera.

/orah Amsellem, veteran of the Trst Metroolitan !era erformance 4 attended-a


22/23

etulant, Haddoc#s +odolfo is nonetheless as 8uic to forgiveness as he is toanger. (he sense of relief in +odolfo#s tone when he and Mim resolve to remaintogether through the winter is touchingly honest. Haddoc fully e*lores thedramatic turns of the Tnal act without resorting to overwrought histrionics.+ather than the cries of a wounded artist, Haddoc#s Tnal voicings of Mim#sname are the e*aserated words of a young lover, a frightened and shattered!rheus calling to his disaearing )urydice. Haddoc lacs an easily=

identiTable, distinctive timbre, but this is a distinctive, distinguished, comletelyidiomatic +odolfo.

Sano and his Atlanta forces surrounded Amsellem and Haddoc with a team ofe*ert Bohemians. "eorgia Jarman roves a magniTcent, nearly revelatory,Musetta, singing with oise, charm, ointed but attractive tone, and diction thatonly occasionally strays from the high standard set by Amsellem and Haddoc.

Jarman begins her famous walt0 insouciantly, tossing o her urosefullydecetive gaiety, and delivering climactic to notes with inging recision.

(aen as a whole, the walt0 ensemble receives from all involved one of its Tnesterformances on records. $abio 'aitanucci, a singer reviously unnown to me,is a Marcello who resonds with elo8uence to +odolfo, Mim, and Musetta. Ameasure of nostalgia is erhas missing from Marcello#s last=act duet with+odolfo, but 'aitanucci sings throughout with nuance and well=laced tone. 4tis, of course, a true leasure to hear a native 4talian in the role. Bass %enisSedov is one of the better 'ollines to be encountered in recent years3 whileointing the te*t with cleverness, Sedov#s tone is also caable of unfurlingmagniTcently in a manner beTtting a great bear# of a character. Beginning withMonteverdi#s Seneca, hilosohers seem to re8uire bass voices that can rollvolutuously into the deths without becoming lugubrious. 1evin "lavin revelsin his double assignment as Benoit and Alcindoro, articulating both characterswithout caricature or the unnecessary bluster with which many singers of theseroles see to disguise vocal shortcomings. 'omleting the team of rincials is

'hristoher Schaldenbrand, whose erformance as Schaunard conTrms hisreutation as one of American#s Tnest young baritones. (his is a singer who canreach the lowest notes of his role to, along with 'olline, anchor ensembles andcan also encomass the role#s highest notes without shouting or forcing. 4t issurely ironic that Schaunard, the musician of the grou, so seldom receives atruly musical erformance. Schaldenbrand sulies musicality in abundance,however, and delivers his retelling of the melodrama involving the )nglishMilord, the arrot, and the oisoned arsley with an increasingly=annoyed witthat is genuinely funny. 4n this, Schaldenbrand brings to mind the wonderful

John +eardon, but Schaldenbrand#s voice is more beautiful and his theatricalinstincts show greater savvy.

4t is well nown that +obert Sano has wrought wonders with the Symhonyduring his tenure in Atlanta. (o state that the Atlanta Symhony here laysunobtrusively may seem unind, but it is intended as a tribute to the comletesecurity of the laying. (here is none of the symhonic reening that one oftenhears from great orchestras in this score. (he Symhony, guided by Sano,simly lay the score with grace, color, and erfect timing, never forgetting thatthey are accomanyingrather than cometing witha team of singers whoare enacting a very human drama. %irector /orman Macen0ie also deserves aword of raise for the e*cellent balance among the child and adult choristers.Above all, though, it is Sano who brings this erformance together, conductingwith mastery that never draws attention to itself but shaes a se8uence of four

brief acts that elo8uently move from Trst love to unmitigated celebration andthen from resignation and susicion to bitter reunion and e*traordinary sadness.4t is disheartening to note how many world=famous conductors with casts ofworld=famous singers fail to mae this Fourney in the sace of La Bohme#s two


23/23

hours. Sano and his cast achieve a erformance that, if not dislacing theclassic recordings with Albanese and "igli, de los Angeles and BFErling, bothentertains and insires. (aen on its own merits, it is a erformance to cherish,and moreover one that roves that casts of brand=name singers often do notcreate the same magic rovided by eole who simly care about the story theyare telling.

htt3KKwww.voi*=des=arts.comK:;;5K

Denis Sedov

Documents

Transcript of Denis Sedov