Grigory Soloviov on the Rise

Rarely has COMMANDOpera been more taken aback by the reality matching the buzz as is the reality with the young Russian Bass Grigory Soloviov. For those who follow the vocal traditions of Opera, the vocal range of the Basso has largely been the dominion of Russian men. In Russia proper however, the old style of Basso purity resides with the ability to boom and thunder through a role. Virtually every other realm involved with Opera does not require this affectation in the Basso instrument: it is sufficient that an artist owns a significant technique underlining a magnificent instrument. Although there are a number of excellent Basso voices on the stage today, very few own that unique timbre and ever so distinguishing resonance which was last seen within the instrument of Mr. Samuel Ramey. 

With Miss Renee Fleming backstage after Lucrezia Borgia prima WNO 2008.

A while ago, COMMANDOpera had begun to hear in passing about a Russian Basso who had just last year completed the Washington National Opera Domingo-Cafritz Young Artist Program. Rumors had been circulating about this voice which was being endlessly linked to that of Mr. Ramey in style, resonance, and sheer star power. It was only a question of time before the towering Russian (6’4″) would come under the withering gaze of COMMANDOpera. And so, the research began: Russian sites in Cyrillic text, informed sources, and of course YouTube. The picture which was being drawn was one which spoke of a rather determined man of great manners, who owned what may accurately be described as a voice of the century in the Basso range. Mr. Soloviov’s instrument owns an agility which enables a range of repertoire encompassing Handel to Mozart to Rossini to Verdi to Tchaikovsky. Indeed, Mr. Soloviov not only undertakes such varied composers and period styles, but his interpretations are superlative, and are unmatched in sensitivity by someone of his age of 30. COMMANDOpera wholly considers this artist as nothing short of genius.

The Moscow Conservatoire.     

Mr. Soloviov entered University in Moscow at the age of 17 to study languages in anticipation of gaining acceptance into the storied and historic Moscow Conservatoire. By the age of 21, Mr. Soloviov spoke fluent Russian, Italian, and English, and could manage rather nicely in French and German. By the age of 22, he completed in one year, musical studies which others complete in three. It was at this moment Mr. Soloviov began five years of the most intensive vocal training at the Conservatoire. His voice teacher was none other than Mr. Boris Kudryavtsev, a noted vocal disciplinarian (Mr. Soloviov credits Mr. Michael Paul in New York for giving his instrument its current polish). There were a slew of Master Classes given by Miss Catherine Malfitano, Mr. Ruggero Raimondi, Mr. Vladimir Chernov, Mr Evgeny Nesterenko to name a few of the gold plate standards. Is it possible to imagine what such an extraordinary panoply of artistry availed to a young artist such as Mr. Soloviov has molded?

Mr. Soloviov essays Leporello’s air “Madamina” Monte Carlo 2008.

The young Russian sings regularly and happily in Monte Carlo where he has been engaged for the past three seasons. However, as word is getting out about this unique vocal instrument, other European impresario’s are looking to take the Basso on for extended engagements. Something which irritates COMMANDOpera as North American audiences may lose out on the opportunity to hear this voice in it’s ethereal prime (one is most consciously aware of the excessive weight given by North American houses to the Tenor and Soprano vocal instruments when casting works: to the narrow extent when a voice such as Mr. Soloviov’s rare calibre appears, it is generally accessed only by centre prime. The European houses are more disposed to act with haste and audiences therefore enjoy that unique youthful bloom which lasts for so few years). Ergo, if COMMANDOpera wishes to hear this instrument for its sheer youthful beauty in the near future, a tour of Europe will have to be undertaken.

Mr. Soloviov essays Gremins Air from Evgeny Onegin St. Petersburg 2007.

Currently Mr. Soloviov is building his stable of roles very much in repertoire which is popular globally: Don Basilio, Sparafucile, Colline, Leporello, Gremin, Sarastro, Bartolo, Ceprano. But COMMANDOpera is most pleased to note to readers, the artist is looking directly at Enrico VIII from Donizetti’s Anna Bolena. One has died and gone to heaven at this possibility which could surmount all other artists including Mr. Ramey. Imagine hearing this role essayed by someone who is of the correct age and commands the ultimate vocal instrument as if the role were written for it. Mr. Soloviov is most inclined towards Bel Canto work, yet he speaks of Handel with a decidedly pointed interest. If readers want to hear his sensational and unrivalled rendition of  ‘Honour and Arms” from Handel’s Oratorio Samson go here. There is NO ONE in the opinion of COMMANDOpera who is even remotely capable of touching Mr. Soloviov in this repertoire today.

COMMANDOpera noted at the top of the article of the buzz surrounding Mr. Soloviov. And from where does it arrive to these precincts? From other artists. COMMANDOpera makes it a point when interviewing artists to enquire after who they think is someone to hear, and more than a few times in the last six months has Mr. Soloviov’s name reared its head in conversation. Humorously to this venue, is the significant number of Russian vocal talent who are gaining serious recognition abroad. Humorous, because they all know each other and often hang out together: 

with Ildar Abdrazakov.

With Evgeny Nesterenko.

With Vladimir Chernov.

With Anna Netrebko.

With Alexei Dolgov and Lyuba Petrova.

With Sergei Liefercus, Ekaterina Semenchuk, Leonard Slatkin, Irina Mataeva, Mzia Nioradze. 

COMMANDOpera was finally able to co-ordinate and speak with Mr. Soloviov yesterday for a brief Skype video interview. The artist is preparing to leave for Moscow tomorrow and his time is severely constrained. From there, its off directly to Monte Carlo. It was a most unusual interview given that one was allotted 10 minutes and had to manage questions carefully, which partially explains a slightly detectable nervous demeanour of Crew Mantle throughout (the other part is the recognition of the formidable presence one was in). Here is the interview in two parts:

Part 1

Part 2