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Vladimir Moroz (Baritone)

Baritone

Prize-winner at the International Lysenko Competition (1997), the Elena Obraztsova International Competition (St Petersburg, 1999), the IV International Rimsky-Korsakov Vocal Competition (St Petersburg, 2000) and at the International Maniuszko Competition (Warsaw, 2004).

Graduated from the Minsk Academy of Music in 1999 (class of Professor A. Generalov).
Made his debut at the Belorussian National Opera as Eugene Onegin (Eugene Onegin) and became a member of the Company (1997–99).
Joined the Mariinsky Theatre Academy of Young Singers in 1999.
Received a study grant from the Friends of the Kirov Opera and Ballet.
Mariinsky Theatre soloist since 2005.

Repertoire includes:
Eugene Onegin (Eugene Onegin),
Robert (Iolanta in concert),
Yeletsky (The Queen of Spades),
Venetian Merchant (Sadko),
Mizgir (The Snow Maiden),
Ferdinand (Betrothal in a Monastery),
Andrei Bolkonsky (War and Peace),
Figaro (Il barbiere di Siviglia), Rodrigo (Don Carlo),
Enrico (Lucia di Lammermoor),
Marcello (La boheme),
Morales (Carmen).

Has participated in concerts by the Academy. Has toured with the Mariinsky Theatre to Israel, Great Britain (Covent Garden), China, Italy (La Scala), Switzerland and Austria. Participated in Placido Domingo?s OPERALIA in Salzburg (2000). Performed the role of Marcello in La Boheme in 2002 at the Washington Opera (USA). Has performed as Onegin at the Aix-en-Provence Festival (France), the Theatre du Chatelet (Paris) and the Welsh National Opera (Cardiff).

Events with Vladimir Moroz (Baritone)

26
May
Sunday
Opera
Le nozze di Figaro had its premiere in 1786 at the Burgtheater in Vienna. Lorenzo da Ponte – with wh...Show more
Le nozze di Figaro had its premiere in 1786 at the Burgtheater in Vienna. Lorenzo da Ponte – with whom Mozart later collaborated on Don Giovanni and Così fan tutte – created the libretto. It was based on Pierre Beaumarchais’ controversial play Le Mariage de Figaro, which was banned in Vienna due to its seditious content. David McVicar’s acclaimed production sets the action in a French chateau in 1830 on the eve of revolution, amplifying the opera’s undercurrents of class tension. The entire household is drawn into the notoriously complex plot, which covers all shades of human emotion: spirited playfulness, such as when Figaro sends Cherubino off to war in ‘Non più andrai’, is combined with heartfelt despair, such as the Countess’s grief at her husband’s infidelity in 'Dove sono i bei momenti'. But affection and fidelity prevail in this most warm-hearted of operas: the Count’s plea for forgiveness in the final act, ‘Contessa, perdono’, is one of the most moving moments in opera. Full info

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