Soloviov: Press and Media

Rasputin, Helikon-Opera, Moscow
Grigory Soloviov’s (Rasputin) deep booming bass is truly hypnotizing; it puts you into some kind of trance. It is chillingly beautiful.”
Marina Pavlyuchenko, Afisha.ru, February 2017 

“The character of Rasputin in this show was brilliantly portrayed by Grigory Soloviov, who joined the theatre this season. His splendid voice, rich in colors, and distinct, unique acting skills are already familiar to the regulars of Helikon-Opera. And now the artist enriched his repertory with a new significant role.”
Gor-r.ru, February 2017

Otello, Teatro Degollado, Orquesta Filarmónica de Jalisco, Guadalajara
“…bass Grigory Soloviov was a commanding vocal and stage presence as Lodovico.
Ingrid Haas, OperaClick, November 2016

“Grigory Soloviov, brought life to Lodovico, incredulous at the irrational transformation of the General [which had been] brought about by hurt and betrayal.”
Manuel Yrízar Rojas,· November 29, 2016

Eugene Onegin, Opéra de Tours
“We discovered Grigory Soloviov, a young singer that we had not known before, Russian, as his name suggests, and all the qualities that come with this one of the most popular arias of the bass repertoire… The youth of the performer gives him the unusual vitality. This is no more a representative of the high society of Saint Petersburg, draped in his dignity and his social stature, that is usually expressed with the dim velvety voice, but a young happy rival of Onegin.”
Christophe Rizoud, ForumOpera.com, May 2016

Rigoletto, Teatro Degollado, Orquesta Filarmónica de Jalisco, Guadalajara
“And speaking of Sparafucile, the interpretation of this character made by the Russian bass Grigory Soloviov was a soothing balm. The homogeneity throughout the whole range of his voice, a round, bright timbre coupled with a good acting, the singer received a good applause and a deserved recognition in this review.”
Alfredo Rossetti, Lenouscultura.com, November 2015

Lady Macbeth of Mtsensk, Opéra de Monte-Carlo
“…the wonderfully pompous police officer Grigory Soloviov…”
Christian Colombeau, Podcastjournal.net, April 2015

The Golden Cockerel, Sarasota Opera
Grigory Soloviov and Timur Bekbosunov were the two Russians in principal parts and they seemed born to the music. Soloviov gave us an unflinching King Dodon with a powerful baritone verging on the bass.”
June LeBell, YourObserver.com, February 2015

Soloviov, as Dodon, done up with an imposing Czarish beard, did well vocally and in putting across the comedy of the king who just wants to stay in bed but must get out with the rest of the older men in order to try to correct the failed military mission of the two princes against an unknown enemy.”
Peter O’Mailey, Hawkfell, February 2015

Turandot, Opéra de Montréal
Grigory Soloviov is the singer that should be rehired immediately. In a few phrases he conveys with authority the image of the fallen king (Timur).”
Cristophe Huss, Le Devoir, May 2014

“The other performers made the most of [their] roles. Of those one is to be remembered – the solid bass of the Russian Grigory Soloviov.”
Claude Gingras, La Presse, May 2014

“The Russian bass Grigory Soloviov possesses the voice and all the characteristics of the blind fallen king. His timber is exemplary and his acting skills are remarkable.”
Jaques Hétu, ResMusica, May 2014

Grigory Soloviov is a deep bass-baritone, who impersonates blind Timur very convincingly; both his singing and acting create a genuine image of a broken old man in front of our eyes.”
Maria Sullivan, Der Opernfreund, May 2014

“Russian Grigory Soloviov’s gravely bass was perfect for the blind, enfeebled Timur.”
Earl Arthur Love, ConcertoNet, May 2014