Tenor Boris Stepanov had a ringing operatic quality in Libera animas omnium and Agnus Dei
There was a ringing bel canto quality in tenor Boris Stepanov’s solos
The young Gypsy of Stepanov was fantastic in his romance
Светлыми пятнами в этой «Флейте» мигали отдельные солисты, среди которых трудно было не обратить внимание на хрупкого в своем лиризме тенора Бориса Степанова в партии Тамино.
"Some of the soloists shone as bright spots; among those it was hard not to distinguish the fragile in his lyricism tenor Boris Stepanov (Tamino)"
Голос Степанова приятен и сладок — иногда даже излишне, но сам артист вполне может стать в скором будущем одним из любимых имен для посетителей Мариинского благодаря эффектной фактуре и вокальному потенциалу.
"Stepanov's voice is pleasant and sweet — even too much sometimes — and the artist may soon become one of the beloved soloists for the Mariinsky Theatre audience owing to his spectacular appearance and vocal potential"
Борис Степанов ранее уже исполнял роль Эрнесто на сцене Большого театра в Москве. Лирический тенор Бориса Степанова радует слух благородством и тончайшей нюансировкой звука. Зал замирает, ловя каждый звук серенады Эрнесто «Com’e gentil la notte»! Его герой — классический влюблённый с романтической душой и добрым сердцем. Почти с ужасом он смотрит на Норину, увлёкшуюся ролью жены, издевающейся над старым мужем, которая отвешивает бедному дону Паскуале пощёчину («Неужели тот ангел способен …?»).
"Boris Stepanov has previously performed the role of Ernesto on the stage of the Bolshoi Theater in Moscow. Boris Stepanov's lyrical tenor pleases the ear with its nobility and the finest nuance of sound. The hall freezes, catching every sound of Ernesto's serenade Com'e gentil la notte! His hero is a classic lover with a romantic soul and a kind heart. Almost with horror, he looks at Norina, who is carried away by the role of a wife mocking an old husband, who slaps poor Don Pasquale in the face (Is this angel capable of this?)."
Een ware ontdekking is de Russische tenor Boris Stepanov. Zijn smeltende stem maakt de ruimdenkende schoolmeester Kudrjas, een verademing in een zee van bekrompenheid, nog aantrekkelijker
"A real discovery was the Russian tenor Boris Stepanov. His melting voice makes the free-minded school teacher Kudrjas, a breath of fresh air in a sea of narrow-mindedness, even more attractive"
Dat jonge paar steelt geregeld de show... Wellicht te veel hinein interpretierend leek het alsof hem dat een flinke dosis zang- en speelvreugde had gegeven, want telkens als hij opkwam straalde hij dat het een lust was. En er zit ook een klein beetje Lenski in zijn optreden, een rol (uit Eugen Onegin) die hij ook zingt. Maar ja, in het verhaal, naar Ostrovski’s toneelstuk Het Onweer, is hij tevens een Tsjechoviaanse jonge academicus die de ingeslapen feodale boel wat komt wakker schudden.
"This young couple [Kudrjas and Varvara] regularly steals the show... It was obvious that Boris Stepanov enjoyed singing and playing very much, because every time he came up he radiated with pleasure. And there is also a little bit of Lensky in his performance, a role (from Eugene Onegin) he also sings. But yes, in the story, after Ostrovsky's play The Thunderstorm, he is also a Chekhovian young academic who comes to wake up the sleepy feudal things"
Тенор Борис Степанов — лучшая, наряду с Кибелой Анастасии Бондаревой, из получившихся вокальных работ.
"Tenor Boris Stepanov's Atys was, along with Anastasia Bondareva's Cybèle, the best of the vocal works"
Солисты являли собой синтез внутреннего и внешнего, на котором основаны эстетика и поэтика барочной оперы. Нежный невинный обольститель Атис в исполнении тенора Бориса Степанова органично дополнял решительную нимфу Сангариду — Веру Чеканову.
"The soloists presented a synthesis of the internal and external, on which aesthetics and poetics of the Baroque opera is based. The gentle innocent seducer Atys by Boris Stepanov organically complemented the decisive nymph Sangaride — Vera Chekanova"
...прекрасное пение, игра и барочная жестикуляция и движения солистов: Бориса Степанова в роли Атиса, Анастасии Бондаревой в роли Кибелы, Веры Чекановой в образе Сангариды и остальных
"...the beautiful singing, performing, Baroque gesture and movement of the soloists: Boris Stepanov as Atys, Anastasia Bondareva as Cybèle, Vera Chekanova as Sangaride, and others"
In diezelfde scène horen we bovendien de nog heel jonge tenor Boris Stepanov die momenteel een repertoire opbouwt dat doet herinneren aan de legendarische Ivan Kozlovski, met in het centrum rollen als Almaviva en Nemorino. Zijn Missail is al opmerkelijk, maar de Joerodivi die we twee scènes later van hem horen, is een vocaal pareltje. ... ik hoor hem graag heel snel in een grotere rol, Italiaans, Russisch of Frans, dat doet er niet toe..
"In the same scene we also hear the very young tenor Boris Stepanov who is currently building up a repertoire reminiscent of the legendary Ivan Kozlovski, with roles such as Almaviva and Nemorino in the center. His Missail is already remarkable, but the Yurodivi that we hear two scenes later from him is a vocal gem. ... I would like to hear him in a larger role very soon, no matter Italian, Russian, or French"
Boris Stepanov chante Missail, un boyard et, surtout, comme à Genève, l’innocent, doux illuminé. Emission claire, longueur de voix, phrasés, font de toutes ses intervention des moments exceptionnels.
"Boris Stepanov sings Missail, a boyar, and, above all, as in Geneva, the softly illuminated Simpleton. Clear emission, cantilena, phrasing make all his interventions exceptional moments"
Lyric tenor Boris Stepanov pulls a Boris Christoff-like triple threat, appearing as Missail, A Boyar and a scrupulously voiced Simpleton.
duo parfait des deux moines vagabonds (Alexey Tikhomirov et l’étonnant ténor du Missail de Boris Stepanov)
"a perfect duo of the two vagabond monks (Alexey Tikhomirov and the amazing tenor of Boris Stepanov's Missal)"
Les seconds rôles sont excellents, comme Boris Stepanov, qui en cumule plusieurs, dont Missail et surtout l'Innocent désarmant de candeur prophétique, et Oleg Budaratskiy, Sergent de ville redoutable d'autorité.
"The second roles interpreters are excellent, such as Boris Stepanov, who accumulated several, including Missail and especially the Innocent, disarming with prophetic candor, and Oleg Budaratskiy, a formidable City sergeant of authority"
Boris Stepanov se voir confié plusieurs rôles, Missail, un boyard, et surtout le rôle très délicat l’Innocent, dans lequel il est extrêmement touchant.
"Boris Stepanov was entrusted with several roles, Missail, a Boyar, and most importantly the very delicate role of the Innocent, in which he was extremely touching"
Boris Stepanov is an eloquent, un-wheedling Holy Fool.
Sobrado de medios y con gran sensibilidad e intencionalidad estuvo Boris Stepanov (El Inocente), que contribuyó a la gran suntuosidad de la escena de la catedral, de lo mejor que se escuchó gracias a una voz de bello color pero también a un saber decir y canto naturales, además de una sentida musicalidad.
"Distinguished by a wide range of artistic means and great sensitivity and intentionality, Boris Stepanov (The Innocent) contributed to the great sumptuousness of the cathedral scene thanks to a voice of beautiful color, a natural manner of speaking and singing as well as a heartfelt musicality"
Facilité d’émission, douceur, clarté, précision de l’impact et de la ligne, voici les qualités conjuguées par le ténor Boris Stepanov, Iourodivi attachant et bien chantant qui rompt avec la tradition qui consiste à se contenter de geindre.
"Ease of articulation, softness, clarity, accuracy of the concept and the line were among the qualities combined by the tenor Boris Stepanov, whose touching and well-sung Yurodivy breaks the tradition of the exclusively "whining" role"
Mais, à quelques exceptions près, il manque l’envie, l’artistique, ce plus qui fait qu’on n’entend plus rien d’autre qu’une musique habillant des mots, ou des mots vêtus de musique. Ce qui donne le rêve, qui transporte le spectateur est souvent absent. À l’exception tardive de la bouleversante interprétation de Boris Stepanov (l’Innocent) qui, en quelques notes, captive son auditoire quand bien même autour de lui la scène se vide de tous.
"But, with a few exceptions, it lacks the desire, the artistism, that what makes you hear more than music dressing words, or words dressed in music. What turns on the imagination, what transports the viewer is often absent. With a positive exception of Boris Stepanov, who, just with a few notes, managed to captivate the audience despite the stage was empty around him"
Une mention spéciale au poignant Boris Stepanov qui incarne un Innocent lunaire, magnifique dans sa solitude.
"A special mention to the poignant Boris Stepanov who embodies a lunar Innocent, magnificent in his solitude"
Quant à l'Innocent de Boris Stepanov, son apparition fugace est comme toujours, vocalement marquante.
"As for the Innocent of Boris Stepanov, his fleeting appearance is as always vocally striking"
Le jeune ténor Boris Stepanov personnifie un Innocent émouvant à vous tirer les larmes.
"The young tenor Boris Stepanov personifies a moving Innocent who drives you to tears"
Boris Stepanov verschafft der Klage des Gottesnarren mit lyrischem Glanz nachhaltig Gehör.
"Boris Stepanov's lyrical shine makes Yurodivy’s lament a thing you would like to listen to on and on"
Boris Stepanov clame avec vigueur la détresse de l’Innocent
"Boris Stepanov proclaims with vigor the distress of the Innocent"
Прекрасно справился с небольшой, но важной партией Юродивого Борис Степанов
"Boris Stepanov perfectly coped with a small but important part of the Simpleton"
Boris Stepanov s'identifie aux plaintes de l'Innocent
"Boris Stepanov identifies with the complaints of the Innocent"
Boris Stepanov est un Innocent terriblement touchant
"Boris Stepanov is an incredibly touching Innocent"
bouleversant Innocent de Boris Stepanov
"a striking Innocent of Boris Stepanov"
Mit leuchtendem Timbre und geschmeidiger Linie lässt Boris Stepanov aufhorchen und ist ein glaubwürdiger Gottesnarr.
"Bright timbre and flexible vocal techniques of Boris Stepanov draw your attention and make him a convincing Innocent"
Highly expressive and charming, Russian tenor Boris Stepanov grasped our attention from the opening note with Lensky’s aria Kuda, kuda vi udalilis from Tchaikovsky’s Eugene Onegin, sung as he awaits his duel with his erstwhile friend Eugene who flirted with his fiancée. I could have listened to Stepanov’s voice happily for another few hours and in the forte sections his voice opened up expansively. There were some delectable switches between ff and p that he made seem effortless. He richly deserved the Media Jury prize.
Emocionó por su exquisita musicalidad, bellísimo y homogéneo timbre, control del fiato y elegante fraseo Boris Stepanov (31), con un sentido “Kuda, kuda vi udaljilis” de Evgeni Onegin. Y es que el tenor ruso no arriesgó en un repertorio que le va como anillo al dedo, y conquistó el reconocimiento del jurado de la prensa.
"Boris Stepanov impressed with his exquisite musicality, beautiful and consistent timbre, well-controlled breath technique and elegant phrasing in an emotional aria Kuda, kuda vi udaljilis from Evgeni Onegin. The Russian tenor did not risk choosing this piece that fits him as ring to finger, and won the recognition of the jury of the press"
Russian tenor Boris Stepanov, 31, winner of the media jury prize, was meanwhile handed just the right aria with Kuda, kuda vi udaljilis from Tchaikovsky’s Eugen Onegin. His youthful, high-lying voice captured a sense of tenderness, and he expressed the character’s nostalgia without chewing the scenery.
Boris Stepanov (31) zong een verfijnd, beeldschoon ‘Kuda, kuda vi udaljilis’ uit Jevgeni Onjegin en maakte daarmee de meeste indruk op de mediajury.
"Boris Stepanov (31) sang a refined, beautiful Kuda, kuda vi udaljilis from Yevgeny Onjegin and made the best impression on the media jury"
Die Auszeichnung der internationalen Medienjury ging indes an den 31-jährigen Russen Boris Stepanov, der sich mit einer Tenor-Arie aus Tschaikowskys "Eugen Onegin" durchsetzte.
"The award of the international media jury, however, went to the 31-year-old Russian Boris Stepanov, who prevailed with a tenor aria from Tchaikovsky's Eugene Onegin"
Starptautiskās mediju žūrijas simpātijas izpelnījās tenors - Boriss Stepanovs no Krievijas, kurš niansēti smalki, vokāli spoži un emocionāli nodziedāja Ļenska āriju no Pētera Čaikovska operas Jevgeņijs Oņegins.
"The international media jury sympathized with tenor Boris Stepanov from Russia, who emotionally sang Lensky's arias from Peter Tchaikovsky's opera Eugene Onegin showing the subtleness of nuances and brilliant vocal technique"
Le ténor Boris Stepanov dans le rôle ingrat de Malcolm, (toujours présent, mais très peu seul) offre un beau ténor spinto (appuyé), brillant, énergique, et très raffiné
"In the ungrateful role of Malcolm (always present, but very little alone), Boris Stepanov offers a beautiful tenor spinto, brilliant, energetic, and very refined"
Dans la brève apparition de Malcolm au dernier acte on remarque le timbre et la projection de Boris Stepanov
"In the brief appearance of Malcolm in the last act we note the timbre and projection of Boris Stepanov"
Quant aux comprimari, ils ont été parfaitement choisis, avec une mention pour l’éclatant Malcolm de Boris Stepanov
"As for the comprimari, they were perfectly chosen, with a mention for the brilliant Malcolm of Boris Stepanov"
Corre a la par del marido de Katerina, Zinovi, encarnado por el tenor Boris Stepanov; el cantante configura un carácter anodino, cobarde, astutamente pusilánime para ocultar su subyugación al poder de su padre Boris. Gran labor de Stepanov, que con equilibrio se maneja entre esas dos fuerzas de la naturaleza que son Katerina y Boris.
"Katerina's husband, Zinovi, is played by the tenor Boris Stepanov; the singer creates an anodyne character, cowardly, cunningly pusillanimous to hide his subjugation to the power of his father Boris. Great work of Stepanov, who balances between these two natural forces, Katerina and Boris"
Zinovi fue interpretado con seguridad por el muy joven tenor lírico Boris Stepanov, quien logró un buen complemento con la orquesta
"Zinovi was played with confidence by a very young lyrical tenor Boris Stepanov, who achieved a good concordance with the orchestra"
Boris Stepanov es un elegante solista, con un material muy bien controlado
"Boris Stepanov is an elegant soloist demonstrating a good control over the material"
Boris Stepanov (Zinovi, el marido) lució un bello timbre
"Boris Stepanov (Zinovi, the husband) carried a beautiful timbre"
Raymond singt Boris Stepanov traumhaft schön mit weichem, elastischem und leuchtendem Tenor, der an die legendären lyrischen russischen Tenöre denken lässt
"Boris Stepanov sings Raymond fantastically with a beautiful soft, elastic and luminous tenor that makes one think of the legendary Russian lyrical tenors"
Raymond est interprété intelligemment par le ténor Boris Stepanov. Sa voix est agréablement timbrée, tant dans les médiums que les aigus, avec une projection toujours bien équilibrée
"Raymond is intelligently interpreted by tenor Boris Stepanov. His voice has a pleasant timbre, both in the middle and high registers, with an always well-balanced projection"
Le Raymond du ténor Boris Stepanov séduit par son timbre clair et délicat, parfait pour le rôle du soupirant de Jeanne
"Raymond of tenor Boris Stepanov captivates by his clear and delicate timbre, perfect for the role of Jeanne's suitor"
Boris Stepanov, ténor en pleine possession de ses moyens
"Boris Stepanov, tenor in full possession of his artistic means"
Raymond du jeune Boris Stepanov fait admirer la beauté de son timbre
"Raymond of young Boris Stepanov admires with the beauty of his timbre"
Boris Stepanov prête la clarté de ses aigus à Raymond
"Boris Stepanov lends to Raymond the clarity of his highs"
Boris Stepanov was remarkable as The Simpleton, in what is perhaps the most interesting scene of the opera
Chez les solistes, on distingue néanmoins la voix claire et éthérée de Regula Mühlemann, les aigus stratosphériques de Boris Stepanov
"Among the soloists, we can distinguish the clear and ethereal voice of Regula Mühlemann, and the stratospheric highs of Boris Stepanov"
Борис Степанов стал подлинным открытием вечера! Такого изумительного исполнения задушевного романса Надира из «Искателей жемчуга» Бизе слышать вживую мне не доводилось уже давно! Демонстрируя романтически легкую изысканную кантилену, скрупулезно выпевая все нюансы этого опуса, полновесно, без всякой «замикстованности» упоительно благородно озвучивая верхние ноты, певец подарил подлинный праздник вокального наслаждения. Поразительная точность и аккуратность воспроизведения музыкального текста была присуща и его графу Альмавиве в бравурно-зажигательном дуэте с Фигаро.
"Boris Stepanov was the true discovery of the evening! I hadn’t been able to hear such an amazing performance of Nadir’s soulful romance from Les pêcheurs de perles for a long time! By demonstrating a romantically light, refined cantilena, meticulously singing all the nuances of this opus, enchantingly nobly voicing without any "mixting" of the top notes, the singer presented an authentic celebration of vocal pleasure. The striking preciseness and accuracy of the musical text reproduction was also inherent in his Earl Almaviva in a bravura-incendiary duet with Figaro"