Baryton
ISAEV Aleksei
Born in Tver, Russia, the young baritone Aleksei Isaev studies at the Gnessin Academy of Music in Moscow.
In 2011, he becomes soloist at the prestigious Helikon Theater in Moscow, where he performs a wide repertoire : Eugen Oneguin, Prince Yeletsky and Tomsky (The Queen of Spades), Conte di Luna (Il Trovatore), Silvio (Pagliacci), the title role of Demon by Rubinstein, Escamillo (Carmen), Conte d’Almaviva (Le Nozze di Figaro)…He sings Germont (La Traviata) at the Tchaïkovski Hall in Moscow.
Abroad, he is Renato (Un Ballo in maschera) and Griaznoï (The Tsar’s Bride) at the Tallinn Opera House, as well as Enrico (Lucia di Lammermoor) at the Dresden Semperoper. He also sings Iago (Otello) at the Staatstheater Wiesbaden alongside Gregory Kunde.
In January 2020, he jumps in as the title role of the Demon at the Grand théâtre de Bordeaux (France) and therefore makes his debuts in France and marks the debut of his international career.
After the pandemic, he sings Scarpia and Aleko at the Helikon Theater, Conte di Luna in Wiesbaden, as well as Germont in Helsinki.
In October 2022, he receives great appraisal for his participation as Vodnik (Rusalka) at the Capitole de Toulouse, a role he returns to in February 2023 for his debut at Covent Garden under the baton of Semyon Bychkov.
His international career then takes the fast track. At the Royal Opera House Covent Garden, he sings Carlo Gérard (Andrea Chénier) alongside Jonas Kaufmann and Sondra Radvanovsky and Scarpia opposite Sonya Yoncheva and Yusif Eyvazov, the Conte di Luna, a role he reprises in Hamburg, Iago in Dresden, a tour of concerts with the Nordwestdeusche Phihamonie and Moussorvski before singing Hermann (Catalani's Lorelei) at the Concertgebouw in Amsterdam.
He makes his Munich debuts with Sharpless (Madama Butterfly) at the Bayerische Staatsoper, where he returns with Iago the next season tour. He makes highly appraised debuts as the Dutchman (Der fliegende Holländer) at the Capitole de Toulouse, his Torino debuts as Gérard (Andrea Chenier) alongside Gregory Kunde. The end of the season sees him as Conte di Luna alongside Anna Netrebko at the prestigious “Chorégies d’Orange”
2025 sees him as Germont (Traviata)at Covent Garden, Tonio (Pagliacci), Alfio (Cavalleria Rusticana).
He makes his debuts at La Monnaie in Brussels as Scarpia.
This season, he is making a critically acclaimed debut in the role of Macbeth in Verdi’s opera, which will be broadcast live on television, before singing the role of Renato in "Le Bal Masqué" at the Royal Ballet Opera, Covent Garden.
In 2027, he will make his debut in the role of Rigoletto at the Opéra National du Rhin, followed by a Rachmaninoff tour conducted by Semyon Byshkov and the Prague Philharmonic. He will then take on the roles of Tonio and Alfio (Cavalleria Rusticana and Pagliacci) at the Hamburg State Opera and the Nice Opera, before making his debut at the Bregenz Festival.
Adagio artists
(Opera Online)
“Another remarkable Russian voice, baritone Aleksei Isaev made a strong impression as Count di Luna: the deep timbre, the firmness across registers, the dark colours carried by energetic phrasing—all sketch the portrait of this implacable character, particularly in his aria ‘Il balen del suo sorriso’, which was rightly acclaimed.”
(Opéra Magazine)
“One can only applaud Aleksei Isaev’s outstanding interpretation, with his sumptuous timbre revealing all the nobility—but also the tenderness—within him.”
(Première Loge)
“The Russian bass-baritone Aleksei Isaev delivers an Ondin that is deeply moving—indeed heartbreaking—and wins the audience’s wholehearted approval. Whether swimming or crawling on the ground, his accents never break the vocal line of the Romantic school.”
(ClassicToulouse)
“Dedicated to the Russian baritone Aleksei Isaev—who had already struck us like lightning during his first appearance at the Capitole as Vodnik (Rusalka, October 2022)—this concert, unlike most of the previous ones, consisted of opera arias.
What we discover today is the rare voice of a true dramatic baritone, a tessitura flirting with that of a bass-baritone, even a baritone-bass. The projection is impressive across all registers, perfectly connected; the low notes sound peremptory, and the high notes retain the autumnal harmonics of this baritonal colour. This last point is the unmistakable sign of a perfectly placed voice. His Vodnik had already suggested it. Now there is no doubt. This young man in his thirties—whose 35th birthday was celebrated on stage during this concert—will very soon be an Amonasro, a Nabucco, or, to begin with Wagner, a Dutchman, and why not the role he resembles in colour and tessitura: Telramund.”
ISAEV Aleksei
Médias
