Dmitry Belosselskiy

Press

• Shostakovich Symphony 13

  Orchestre national de Lille

  Mar 2025 - Mar 2025

  • La diction de la basse Dmitry Belosselskiy est pourtant parfaite ! Il déploie une voix large qui passe facilement l’orchestre Bass Dmitry Belosselskiy's diction is nevertheless perfect! He deploys a broad voice that easily transcends the orchestra

    • Chloë Rouge, Bachtrack
    • 18 March 2025

  • Cette réussite est aussi celle de l'incarnation vocale : habité de bout en bout, Dmitry Belosselskiy obéit moins qu’usuellement au cliché de la basse russe. Il chante sans effort, nuance son phrasé, contrôle lui aussi l’expression et le vibrato. This success is also that of the vocal embodiment: possessed from start to finish, Dmitry Belosselskiy obeys less than usual the cliché of the Russian bass. He sings effortlessly, nuances his phrasing, and also controls expression and vibrato.

    • Rémy Louis, Diapason
    • 19 March 2025

  • Le flux vocal, source de toutes les dénonciations, exhortations, compassion, est superbement tenu par le narrateur chanteur ukrainien Dmitry Belosselskiy. Basse ample et caverneuse, souvent en dialogue ou associée au chœur d’hommes (impeccable Philharmonia Chorus préparé par son chef, Gavin Carr), le soliste réalise une trajectoire à la fois sobre, expressive, pleine de noblesse, exhortant à la fraternité. Le tableau en particulier des femmes russes s’épuisant dans les magasins vides à trouver leur maigre pitance [III. AU MAGASIN], incarné comme une ample et sombre déploration nocturne, est saisissant ; comme s’affirme la gouaille ironique du II. HUMOUR, où le rire grimaçant de Chostakovitch, faisant alterner chœur et basse, est magnifiquement réalisé, délirant, faussement enjoué et d’un provocateur bravache, comme une chanson à boire. The vocal flow, the source of all the denunciations, exhortations, and compassion, is superbly held by the Ukrainian singer-narrator Dmitry Belosselskiy. With a broad, cavernous bass, often in dialogue or associated with the male choir (an impeccable Philharmonia Chorus prepared by its conductor, Gavin Carr), the soloist achieves a trajectory that is at once sober, expressive, and full of nobility, exhorting fraternity. The picture in particular of Russian women exhausting themselves in empty shops to find their meager pittance [III. AT THE STORE], embodied as a broad and somber nocturnal lamentation, is striking; as is the ironic banter of II. HUMOUR, where Shostakovich's grimacing laughter, alternating between chorus and bass, is magnificently realized, delirious, falsely playful, and bravado-provocative, like a drinking song.

    • Alexandre Pham, Classique News
    • 17 March 2025

  • L'autre grande réussite de ce concert est celle des voix. Que ce soit la performance de la basse Dmitry Belosselskiy, au chant profond et impressionnant. Ou encore l'excellence de la formation britannique du Philharmonia Chorus. La parole est ici essentielle, fièrement portée par un soliste et des chœurs en osmose. Un impressionnant moment d'orchestre et de chant. [...] pour achever cette belle interprétation où l'on ne sait qu'admirer le plus de la rigueur et de la justesse de la direction de Joshua Weilerstein, de la plastique orchestrale de l'ONL, de l'interprétation superlative de Dmitry Belosselskiy ou de celle du Philarmonia Chorus The other great achievement of this concert is the vocals. Whether it's the performance of bass Dmitry Belosselskiy, with his deep and impressive singing, or the excellence of the British Philharmonia Chorus. The words are essential here, proudly carried by a soloist and choirs in harmony. An impressive moment of orchestral and vocal performance. [...] to complete this beautiful interpretation, in which one can only admire the rigor and accuracy of Joshua Weilerstein's conducting, the orchestral plasticity of the ONL, the superlative interpretation of Dmitry Belosselskiy and that of the Philarmonia Chorus.

    • Jean-Marc Petit & Patrice Imbaud, ResMusica
    • 17 March 2025

• Verdi Nabucco

  Metropolitan Opera New York

  Sep 2023 - Oct 2023

  • Of the soloists, it is Zaccaria that dominates the first act, here commandingly sung by Dmitry Belosselskiy, his several arias all perfectly idiomatic.

    • Seen and Heard International
    • 08 January 2024

  • Il affronte crânement les difficultés de sa grande scène du premier acte 'Sperate o figli' [Translated] He bravely tackles the difficulties of his great Act I scene, 'Sperate o figli'

    • Forum Opera
    • 08 January 2024

  • Dmitry Belosselskiy was also reprising the role of the high priest Zaccaria. His robust bass rang out fierce and defiant

    • New York Classical Review
    • 29 September 2023

  • Belosselskiy, who returned as Zaccaria in “Nabucco,” sang attractively in “Vieni, o Levita.”

    • New York Times
    • 29 September 2023

  • In another role reprisal from 2016, Dmitry Belosselskiy displayed a rich and flowingly lyrical bass in his sage and subtle depiction of Zaccaria, the High Priest of Jerusalem.

    • Bachtrack
    • 29 September 2023

• Wagner Der Fliegende Holländer

  Metropolitan Opera, New York

  May 2023 - Jun 2023

  • As Daland, Dmitry Belosselskiy was similarly effective, particularly during his duet with Konieczny. He managed a brighter timbre in his bass with rhythmic accuracy and pinpoint diction throughout. This was also noticeable during “Mögst du, mein Kind, den fremden Mann willkommen heissen!” when he introduces Senta to the Dutchman. His bass maintained a sturdiness throughout

    • Opera Wire
    • 30 May 2023

  • Bass Dmitry Belosselskiy was full of character and vocal weight as Daland, believably craven in his eagerness to sell Senta off to the Dutchman

    • New York Classical Review
    • 30 May 2023

  • Dmitry Belosselskiy was as tender as Daland as he was terrifying as the Commendatore in Don Giovanni.

    • Parterre Box
    • 30 May 2023

  • Dmitry Belosselskiy used his weighty and characterful bass to effectively portray Daland, Senta’s father, as a strong but unscrupulous man who eagerly sells off his daughter to the Dutchman in return for great wealth. The two smaller roles were less evenly cast

    • Bachtrack
    • 30 May 2023

• Verdi Don Carlos

  Lyric Opera of Chicago

  Nov 2022 - Dec 2022

  • Dmitri Belosselskiy is a towering King Philippe with a fantastically commanding and cavernous bass voice. This is a man in control and you are drawn to the very power of his voice.

    • Hyde Park Herald
    • 14 November 2022

  • Belosselskiy potently conveys the strength of the Spanish king but also his vulnerability, which comes through in a moving performance of the character’s desolate Act 4 meditation on his age and loveless marriage

    • Chicago Sun Times
    • 14 November 2022

• Verdi Don Carlos

  Bayerische Staatsoper, Munich

  Sep 2022 - Oct 2022

  • Dmitry Belosselsky gibt mit vollem Bass den Despoten Philipp II. Seine väterliche Liebe unterdrückt er hoheitsvoll. Seine Machtlosigkeit im Konflikt von Amt und eigenen Gefühlen streicht er geschickt nuanciert vor allem in seiner großen Arie „Sie hat mich nie geliebt“ heraus.” [Translated] Dmitry Belosselsky plays the despot Philip II with full bass. He sovereignly suppresses his paternal love. He skilfully highlights his powerlessness in the conflict between office and his own feelings, especially in his great aria “Ella giammai m’amo”.

    • Opera Online
    • 30 September 2022