“Lady Macbeth was played by the famous Nina Stemme, but on August 10, due to illness, she was replaced by Evgenia Muravyova, a graduate of the Mariinsky Theater opera school. Initially, she was invited to the role of Aksinya, but in the role of Katerina she performed with dignity, perhaps not at the same degree of desperate passion that Stemme had. Brandon Yovanovitch introduced the audience to the strong, handsome Sergei, Dmitry Ulyanov - a truly terrifying Boris, Maxim Pasteur played his spineless son, and Ksenia Dudnikova played the dissolute Sonnetka. The Vienna Philharmonic Orchestra sounded rather restrained, but sometimes still unleashed heavy outbursts of anger on the audience.”
— John Rockwell (“Opera Magazin”, October 2017. opera.co.uk)
"Played by Dmitry Ulyanov, old man Izmailov becomes the evil genius of the place, and even the satirical touches of the famous aria about old age only highlight the mystical image of an all-consuming power trying to spread its sinister influence to every corner of a giant urban hive. D. Ulyanov uses his rich vocal and dramatic arsenal to create an image of totalitarian gluttony and animal infernity. It is not surprising that this work captivated the prim Salzburg public: the singer’s success was deafening.”
— Alexander Kurmachev (belcanto.ru)
You can find the entire article by following the link: http://www.belcanto.ru/17080901.html
“Dmitry Ulyanov was magnificent in the role of Boris Timofeevich Izmailov, skillfully building the character of his hero, balancing between the grotesque and drama...”
— (operaexplorer.com)
You can find the entire article by following the link: https://operaexplorer.com/2017/08/11/lady-macbeth-of-mtsensk-as-a-time-machine-in-salzburg/
“Throughout the entire performance and for each character, the direction was thought out to the smallest detail. Dmitry Ulyanov introduced Boris to the audience as a despotic patriarch and father-in-law, whose main nervous fetish was disinfectant spray, his bass was gloomy: he showed that on the opera stage you can even turn death from rat poison into something elegant.”
— Isabella Steppan (bachtrack.com)
You can find the entire article by following the link: https://www.google.ru/amp/s/bachtrack.com/kritik-lady-macbeth-von-mzensk-kriegenburg-stemme-ulyanov-jovanovich-wiener-philharmoniker-jansons-salzburger-festspiele-august-2017/amp=1
“Having made his debut at the Salzburg Festival in the role of Boris Izmailov, Dmitry Ulyanov introduced the audience to a vile, smug tyrant, who constantly smoothed his hair and carried a wooden rod everywhere to emphasize his authority. Although vocally the character of the hero was reflected accurately, adding more weight and growl to the timbre was, nevertheless, not superfluous.
— Moore Parker (theoperacritic.com)
You can find the entire article by following the link: https://theoperacritic.com/tocreviews2.php?review=mp/2017/szbmtsens0817.html
“The most outstanding among the dozen soloists turns out to be Dmitry Ulyanov in the role of the lustful old man Boris Izmailov - an evil patriarch with an impressive bass voice and a flexible portrayal of aging male reprehensibility.”
— Frieder Reininghaus (nmz.de)
You can find the entire article by following the link: https://www.nmz.de/online/gediegener-sozialrealismus-mit-einer-guten-dosis-theaterhumor-lady-macbeth-bei-den-salzburger
Review of critical publications. "Lady Macbeth of Mtsensk." Salzburg Festival 2017
