DmytroPopov

Press

• La boheme

  Metropolitan Opera

  Nov 2024 - Jun 2025

  • Tenor Dmytro Popov as Rodolfo was the perfect match to Winters’ Mimì. There was a fondness between the two and Winters’ elevated vocal technique brought out the best in Popov’s Rodolfo. The tenor’s voice is gentle yet powerful at the same time. His resonance is full-bodied but there is a sweetness in his higher register that makes his sound more vulnerable and genuine than most tenors...There is a sense of comfort in Popov’s voice, an authenticity and likeness that carries beyond the stage. I watched Popov’s castmates take delight in his presence and performance, too. There was a palpable and special bond among them. In his opening duets with Mimì, “Non sono in vena!,” “Chi è là,” and “Si sente meglio?,” Popov’s voice was in perfect balance and technique. His warm timbre gave depth to his higher register, as Winters’ soprano soared into bliss with his tenor. I especially enjoyed Popov’s “O soave fanciulla.” His ardent love and passion for Mimì was excruciatingly beautiful, soft, and moving. The tenor’s voice reflected his thoughtfulness of character, allowing his voice to lead him forward and be his guide. I was also impressed with how present he sounded, he came across as grounded and moved with intention. In his final duet with Winters, “Sono andati? Fingevo di dormire,” Popov showed the most genuine care and concern towards Mimì that really made a difference in the production as a whole. The entire opera led up to this final scene when everyone comes together to experience being human, embracing one’s own mortality in plain sight. The cast bonded together and Popov mirrored the crushing realization in real-time of how life is ultimately subjected to change in the blink of an eye – Mimì’s death underlined this universal understanding because of Popov’s ability to create space for it to happen. His actions and voice came from somewhere deep within him that invited the audience to feel like they were processing Mimì’s death for the first time, no matter how many times they’ve seen “La Bohème.” It’s the simple gestures and intelligent use of space and silence between singing and acting that can make or break a scene as crucial as this one. Popov and Winters rose to the occasion, and when conductor Nèzet-Séguin cued the orchestra’s final passage, there was a stillness that permeated the hall, revealing death’s shadow and the impermanence of all that is.

    • Operawire
    • 04 June 2025

  • He is a delightful stage animal full of personality with excellent reactions and cleverly performed business

    • Parterre
    • 28 May 2025

  • The tenor was vibrant and also appealingly subtle. “Che gelida manina” had an attractive simplicity, balanced by the passion of the third act duet with Mimi. On the technical side, Popov had an impressively even and open tone throughout his range, wider and fuller at the top than one usually hears in this music.

    • New York Classical Review
    • 14 November 2024

• Thurn und Taxis Gala Concert

  Thurn und Taxis Palace, Regensburg Germany

  Jul 2024

  • Der ukrainische Tenor bewegt sich auf künstlerischer und dramaturgischer Augenhöhe mit Asmik Grigorian, wenn er mit der Arie „E lucevan le stelle“ des Cavaradossi aus der „Tosca“ eine erste sängerische Kostprobe in den Innenhof des fürstlichen Schlosses stellt. Mit der Kraft seiner dramatisch aufgeladenen Stimme weiß er geschickt umzugehen, führt sie ebenso gekonnt in lyrische Passagen seiner Partien, und findet sich immer bestens abgestimmt ein in die Duette mit Grigorian. [translation]The Ukrainian tenor is on an artistic and dramaturgical level with Asmik Grigorian when he gives his first vocal taste in the courtyard of the princely castle with the aria "E lucevan le stelle" by Cavaradossi from "Tosca". He knows how to use the power of his dramatically charged voice skilfully, leads it just as skilfully into lyrical passages of his parts, and always finds himself perfectly coordinated in the duets with Grigorian.

    • Andreas Meixner, Mittelbayerische
    • 15 July 2024

• Carmen (Bizet)

  Glyndebourne Opera Festival

  May 2024 - Jun 2024

  • Popov owns a great, dramatic voice with an extensive range and powerful ringing high notes. His acting is excellent too. His José comes across as a complex character, capable of great tenderness but also of jealous rage and violence when angry.

    • Margarida Mota-Bull, Seen and Heard International
    • 17 May 2024

  • Alongside Chaieb’s accomplished Carmen, Dmytro Popov’s Don José was vibrantly, stirringly sung.

    • Barry Millington, The Standard
    • 17 May 2024

  • His “La fleur que tu m’avais jetée” was remarkable, a glorious combination of lyrical beauty and pathos.

    • David Karlin, Bachtrack
    • 17 May 2024

  • José is sung with a strong, vibrant tone by the Ukranian tenor Dmytro Popov, outstanding in his Act II aria, drawn inexorably into Carmen’s dark web

    • Nicholas Kenyon, The Telegraph
    • 17 May 2024

  • Carmen’s love interest-turned-murderer Don José, played by Dmytro Popov, pulled us in with his electric high register

    • Hattie Butterworth , Gramophone
    • 20 May 2024

• Iolanta (Tchaikovsky)

  Slovak Philharmonic, Bratislava Music Festival

  Sep 2023 - Sep 2023

  • [translated] The biggest part is Count Vaudémont, in which the now world-renowned Ukrainian tenor Dmytro Popov demonstrated both the beauty and colour of the metal spinto tenor, as well as his excellent technical leadership. Thanks to him, the phrases in the highest position flowed uninterruptedly, the voice had sonority, volume and richness of expression in the entire range. It was a performance that we haven't heard in Bratislava for a long time. Najväčším je part Vaudémonta, v ktorom ukrajinský tenorista dnes už svetového mena Dmytro Popov preukázal rovnako krásu a farebnosť kovového spinto tenoru, ak aj jeho excelentné technické vedenie. Vďaka nemu frázy v najvyššej polohe tiekli neprerušovane, hlas mal zvučnosť, objem a výrazové bohatstvo v celom rozsahu. Bol to výkon, aký sme v Bratislave už dávno nepočuli.

    • Pavel Unger, Opera Slovakia
    • 29 September 2023

• Rusalka (Dvořák)

  Bayerische Staatsoper

  May 2023

  • The fact that the revival of this "Rusalka" production was so impressive is also due to the consistently excellent cast, right down to the smallest roles. The Ukrainian Dmytro Popov gave the prince lyrical emphasis and radiant height(...) [translated] Dass die Wiedera,ufnahme dieser "Rusalka"-Produktion so beindruckend gelang, liegt auch an der durchgehend hervorragenden Besetzung bis in die kleinsten Rollen hinein. Der Ukrainer Dmytro Popov gab dem Prinzen lyrische Emphase und strahlkräftige Höhe(...)

    • Fridemann Leipold, BR Klassik
    • 15 May 2023

• "Remembrance and Hope" - Concert for Ukraine

  Metropolitan Opera, New York

  Feb 2023

  • Dmytro Popov speaks with AFP in between rehearsals ahead of Friday's concert of "Remembrance and Hope"

    • AFP
    • 24 February 2023

• La Traviata (Verdi)

  Metropolitan Opera, New York

  Feb 2023

  • His opening lines as he stepped out of the party crowd carried with a firm tone that suggested a slightly more mature Alfredo; this quality lent itself nicely to the protective way he entreats for Violetta’s health and happiness.

    • Logan Martell, Opera Wire
    • 10 March 2023

• Carmen (Bizet)

  San Sebastian

  Aug 2024

  • El Don José de Dmytro Popov brilló por su voz poderosa y bien proyectada... Dominó su papel con seguridad a prueba de bombas y estuvo muy bien en la dificilísima aria de “La fleur”. Incluso esbozó ese diminuendo en la subida final al agudo, que debe acabar en un hilo de voz...para mostrar la desaparición de la voluntad de Don José y su entrega absoluta a Carmen y que resulta endemoniado de hacer. [translated] Dmytro Popov's Don José shone with his powerful and well-projected voice... He mastered his role with bomb-proof confidence and was very good in the very difficult aria of “La fleur”. He even outlined that diminuendo in the final rise to the treble, which must end in a thread of voice to show the disappearance of Don José's will and his absolute dedication to Carmen, which turns out to be devilish to do.

    • Scherzo
    • 12 August 2024

  • El tenor Dmytri Popov se mantuvo seguro de su voz en todo momento y con una técnica particular demostraba esa seguridad cada vez que abordaba las notas altas con su broncínea y martilleante voz [translated] The tenor Dmytro Popov remained confident in his voice at all times and with a particular technique he demonstrated that assuredness every time he approached the high notes with his bronze and hammering voice.

    • Nino Dentici
    • 19 August 2024

  • Pero fue haciéndose dueño del papel y enseñó una forma de cantar muy solvente, acompañada de una estupenda actuación. Así que ambos varones cumplieron con creces. [translated] He became master of the role and showed himself to be a competent singer and a superb performer

    • Mundo Classico
    • 21 August 2024

  • Sus actuaciones siempre han sido convincentes, contando con una voz de tenor lírico de calidad [translated] His performances have always been convincing, featuring a quality lyrical tenor voice

    • Beckmesser
    • 04 August 2024

  • Absolutamente convincente vocalmente hablando fue el Don José de Dmytro Popov. Sedujo con su timbre, de importante proyección y su entrega en escena." [translation] "Vocally speaking, Dmytro Popov's Don Jose was absolutely convincing. He seduced with his timbre, which had impressive projection, and his commitment onstage

    • Quincena Musical
    • 08 August 2024

• Carmen (Bizet)

  Teatro di San Carlo

  Oct 2024

  • Di sicuro interesse è, poi, il Don José di Dmytro Popov, molto credibile sia musicalmente che scenicamente: la voce è chiara, ha coraggiosi slanci e accenti di una autenticità non ricercata, si accompagna ad una fisicità prorompente che non stona affatto nel delineare l’ingenuità e la sostanziale immaturità del personaggio, come Carmen ben lontano dall’appassionato e violento disertore della tradizione. Così, svetta il suo canto ne La fleur que tu m’avais jetée che non si risolve in un semplice esercizio muscolare ma si arricchisce invece di sottili sfumature. [translated] Of certain interest, then, is Dmytro Popov 's Don José , very credible both musically and scenically: the voice is clear, has courageous outbursts and accents of an unsought authenticity, is accompanied by an exuberant physicality that does not clash at all in delineating the naivety and substantial immaturity of the character, like Carmen far from the passionate and violent deserter of tradition. Thus, his singing stands out in La fleur que tu m'avais jetée which does not resolve itself in a simple muscular exercise but is instead enriched with subtle nuances

    • Fermata Spettacolo
    • 31 October 2024

• Iolanta

  Wiener Staatsoper

  Mar 2025

  • Dmytro Popov sang ihren Retter, den Grafen Vaudemont mit viel Temperament, seine Stimme begeisterte in den lyrischen Momenten, aber auch seine Spitzentöne kamen sicher und strahlend. [Dmytro Popov sang her savior, Count Vaudemont, with great temperament; his voice was captivating in the lyrical moments, but his top notes were also confident and radiant.

    • Online Merker
    • 24 March 2025

  • Irgendwann taucht jedoch Graf Vaudemont auf (klangprächtig: Dmytro Popov). Er verliebt sich, sorgt für Gefühlsaufwallungen und ein Körnchen Wahrheit. [translated] At some point, however, Count Vaudemont (a magnificent sound by Dmytro Popov) appears. He falls in love, causing emotional surges and a grain of truth.

    • Der Standard
    • 25 March 2025