Eugene Onegin at Tokyo National Opera Theatre

“…tall Yuriy Yurchuk skillfully expressed Onegin's arrogant' personality”

Classic Navi

“The role of Onegin was sung by Yuri Yurchuk, a baritone of great bearing and a dark voice, perfectly adapted to the role.”

Opera Actual

EUGENE ONEGIN AT DANISH ROYAL OPERA

“Internationally recognized Ukrainian baritone Yuriy Yurchuk was fortunately an excellent EUGEN ONEGIN with his charismatic appearance and a powerful voice.”

CPH Culture

“Yurchuk was a natural in the part, with a beautiful voice and stature and has also sung in the same staging in Brussels.”

Kulturkupeen

“Yuriy Yurchuk's Onegin is better …full of dignity and bringing home the evening with good stage presence and solid voice.” -

Le Salon Musical.

Eugene Onegin- à La Monnaie de Bruxelles // Ballo in maschera - Opera de bauge - Reviews

“But the male cast is not to be outdone, from the brilliant Argentinian tenor Pablo Bemsch as Riccardo, to Renato by the Ukrainian baritone Yuriy Yurchuk, dark timbre, ample phrasing, completely in the spirit of Verdian singing”

Opera Online

“The famous Eugene Onegin is sung by baritone Yuriy Yurchuk, who held this role for his debut at the National Opera of Ukraine in 2018. Here he elegantly interprets the indecisive seducer. Although he is a smug and condescending character, his doubts and remorse quickly resurface through a versatile singing ability.”

Olyrix

“The Ukrainian Yuriy Yurchuk draws very well that incomprehensible and contradictory Onegin, in a certain way a precursor of Russian philosophical nihilism and whose life has neither direction nor moral sense. His voice is pleasant and well projected.”

Operaworld

THE BELLS - REVIEWS (London Philharmonia Orchestra / Finnish Radio Symphony Orchestra )

”The spectre of man’s death hangs over the final movement, a Lento lugubre (‘The Mournful Iron Bells’), and it fell to the Ukrainian baritone Yuriy Yurchuk to take us to its closure. Although this work ends in a kind of solitude it has to go through catastrophe to get there. A wonderfully austere lamentation on the cor anglais preceded Yurhcuk’s devastating first entry – with Kochanovsky uniting the gloom-laden chorus, bereft baritone and harrowing-sounding orchestra towards the Dies Irae. Yurchuk sang with solemnity, and a rich emptiness; the chorus a depth of wordless power to evoke the bells. The resignation at the end had the hollowness of profundity to it.”

Opera Today

”Anush Hovhannisyan molasses-rich soprano and Yuriy Yurchuk’s vehement baritone were ample compensation in this deeply satisfying performance.”

Bachtrack

”There was something poignantly contradictory in how the Ukrainian baritone, Yuriy Yurchuk, articulating Russian more clearly than any other soloist, heart-wrenchingly sang of rusty escort bells, their toll resonating for both the misguided and the righteous alike.”

Helsingin Sanomat

La Traviata - Northern Ireland Opera Reviews

”Stagg mastery of Piave’s flowing libretto is faultless, particularly in the duet combining her creamy voice with Yurchuk’s rich baritone… Yurchuk is impressively convincing as a snobbish but concerned parent who rides roughshod over the feelings of this fallen woman before coming, too late, to regret his actions.”

The Stage

”The Ukrainian baritone Yuriy Yurchuk was affecting as Giorgio Germont, stiff, cold, broken, but his voice warm and reverberant. You may recognise the name. He made news earlier this year when he sang his homeland’s national anthem at the gates of Downing Street”

The Guardian

The quality voice of the night is surely that of baritone Yuriy Yurchuk, in the role of Alfredo’s problematic father Giorgio Germont. Smoothly charismatic, his presence certainly poses intriguing possibilities about this role.

Goldenplec

Yurchuk is compelling. His rich baritone carries the requisite gravitas when Giorgio Germont insists that Violetta part from his son to preserve his family’s honor and so as not to offend God. Later, wracked with regret for the tragic course of actions that he has unleashed, his poignant duet with Violetta is tenderly aching.

Theatre News

“Alfredo’s father, Giorgio, sung by Yuriy Yurchuk, possesses the same unwavering assurance but wields it self-servingly against Violetta and Alfredo, whose match he condemns. It was certainly strange to realize that Yurchuk is in fact five years younger than Stewart, given that he plays his father. Nonetheless, he embodies Giorgio’s gas-lighting intentions well, his booming baritone selfishly advertising his narrow worldview. It was an impressive performance, even if it lacked the gravitas of an older singer.”

London Unattached

“As the great Ukrainian baritone Yuri Yurchuk, who played Giorgio Germont, Alfredo's father, told me, this production majors in psychological truthfulness: "Cameron wanted us to know why we were doing or saying things". This was clear in De provenza, Georgio's diktat to his son about the unwisdom of his romantic course.

Irish News

Andrea Chenier Reviews - Southbank Center

“Baritone Yuriy Yurchuk created a truly persuasive and engaging portrait: as he stared, frowning, into the middle distance (entirely off-score), and sang with pained but noble expression of his frustration and moral bewilderment, there could be no doubting Gérard’s introspective agony nor his essential integrity, however flawed his actions. As he struggled to compose an indictment against Chénier, the sparse instrumentation revealed his anguish. His epiphanic recognition of the hate-fuelling self-destructiveness of his own jealousy, ‘Nemico della patria? … Un dì m’era di gioia’ – the highlight of the evening for me – conveyed anger, pride, self-castigation and was sung with elegant fervour and glorious freedom of line..”

Opera Today

"That said, it was arguably the singer that took the part of Carlo Gérard that lingered most in the memory: the Ukrainian baritone Yuriy Yurchuk. Sporting a tasteful Ukrainian flag-coloured bow on his lapel, Yurchuk absolutely owned the role of Gérard, his voice beautifully resonant and commanding, never drowned by the orchestra’s considerable forces. He acted the role well, too (despite the concert staging, he was clearly involved in the ongoing action); in his hands, Gérard became a major player at least on the level of Chénier himself."

Seen and Heard

LA BOHEME REVIEWS NORTHERN IRELAND OPERA

“Yuriy Yurchuk, as fiery lover but compassionate friend Marcello, is particularly compelling.”

Opera Now Magazine

"Yuriy Yurchuk’s scene stealing Marcello proved the night’s most charismatic character"

Opera Magazine

"Ukrainian baritone, Yuriy Yurchuk, gave a spirited performance bringing the ardent Marcello winningly to life. He rose magnificently above the orchestra in his vocal entry towards the end of Act II. The rest of the performers all acquitted themselves well in their respective roles.."

Seen And Heard International

“Her admirer Marcello, Ukrainian baritone Yuriy Yurchuk, is certainly another voice to watch.”

Irish Times

“… Yuriy Yurchuk makes a characterful Marcello,.”

The Times

“the sparky relationship between Yuriy Yurchuk’s swaggering Marcello and Emma Morwood’s pert Musetta feels authentic and true to the magic of Puccini’s melting score.”
The Stage

“the chemistry between Morwood and Yurchuk made the scene”

Emerdblog

Performance with Maestro Pappano at Snape Maltings

"Pappano inaugurated the scheme in this concert, accompanying at the piano the Ukrainian baritone Yuriy Yurchuk in three Russian numbers. Yurchuk has a glorious voice, with power and a rich smooth tone from top to bottom."

The Times

“Here Pappano turned pianist to accompany the Ukrainian baritone Yuriy Yurchuk in songs by Georgy Sviridov and Rimsky-Korsakov, and Yeletsky’s aria from Tchaikovsky’s Queen of Spades. It was a tantalising sample of Yurchuk’s velvety dark sound, and his fine way with a lyrical line.”

The Guardian

“Pappano chose the golden-toned Ukrainian baritone Yuriy Yurchuk, joining him as pianist in three Russian arias including Yeletsky’s painful declaration of love from Tchaikovsky’s The Queen of Spades – a surprise addition to a programme of Britten and Schoenberg. Yurchuk won huge cheers; 160 people (instead of the capacity 800) can make good noise.”

The Guardian

LA BOHEME REVIEWS ZURICH OPERA HOUSE

"Yuriy Yurchuk as Marcello, with a very engaging interpretation, both from a musical and a theatrical point of view. His smooth, well projected baritone was enjoyable, and his acting appealing: when he was trying to resist Musetta’s seduction he was irresistibly funny. "

Bachtrack

“…in stepped forceful Ukrainian baritone Yuriy Yurchuk, who, as Marcello, was splendid throughout.”

Seen and Heard

LA BOHEME REVIEWS OPERA NORTH

"Ukrainian baritone Yuriy Yurchuk was superb as Marcello, his acting convincing, his rich voice sometimes strident, sometimes seductively mellow."

Bachtrack

“Marcello is played by Ukrainian baritone Yuriy Yurchuk. He carries the role with confidence, conviction and lean energy, and his singing is rich and powerful.”

The Culture Vulture

“Marcello, a painter, and a sympathetic friend to Mimi, is sung and played with consummate ease by Ukrainian baritone Yuriy Yurchuk“

On Magazine

"Both baritones, Yuriy Yurchuk as a ringingly sung Marcello and Henry Neill as a lively, funny Schaunard, are excellent value too."

The Times

"The multinational cast is exceptional, with Anush Hovhannisyan, making her Opera North debut as a flirty Musetta, nicely playing off Ukrainian baritone Yuriy Yurchuk as Marcello.."

The Stage

"Yuriy Yurchuk’s smooth- toned Marcello"

Ilkley Gazette

“Also performing for Opera North for the first time are Ukrainian baritone, Yuriy Yurchuk, playing Marcello, jealous yet sincerely in love with the flighty but calculating Musetta… A very fine moment, in an evening of very fine moments”

The State of the Arts

“Yuriy Yurchuk, whose solid baritone cuts through the orchestra textures with precision”

Number 9 Reviews

“Marcello (Yuriy Yurchuk) used his rich baritone to good effect and his acting was professional and convincing"

Whats Good to Do

“Yuriy Yurchuk, playing Rodolfo’s housemate Marcello, is perhaps the strongest presence on stage and, along with Emyr Wyn Jones’ Colline and Henry Neill as Schaunard, particularly in their playful start to the final act, add much needed comedy to what could otherwise feel a weighty evening.”

Left Lion

CONTE DI LUNA, IL TROVATORE by VERDI - OPERA DE BAUGE

"Yurchuk, singing his role for the first time, assumed complete command of it, and he and Liiv really made something of the climactic moment - too often rushed - when Azucena reveals the terrible truth."

OPERA Magazine

We are just as thrilled by the noble and intense voice of the Ukrainian baritone Yuriy Yurchuk in the role of Count di Luna

Opera Online

MANON REVIEWS AT ZURICH OPERA HOUSE

"So sang Yuriy Yurchuk einen profund strömenden Lescaut, der stimmlich und darstellerisch starke Präsenz zeigte "

(So Yuriy Yurchuk sang a profoundly flowing Lescaut, which showed strong presence vocally and dramatically)

Bachtrack

“Yuriy Yurchuk ... Sein charaktervoller Bariton strömt wunderbar, und dadurch, dass bis auf einen Strich die geamte Partitur gepielt wurde, erhält Lescaut hier auch das notwendige Gewicht.”

("Yuriy Yurchuk ... his characterful baritone flows wonderfully, and because of that, as a red line through the whole score, Lescaut gets here the necessary weight.")

Oper Aktuell

“Yuriy Yurchuk offered a mellifluous Lescaut, making the most of “Ne bronchez pas, soyez gentille”, in a dialogue that Vitter parodied as a female equivalent to army life. “

Mundoclasico

"grossartig gesungen von Yuriy Yurchuk ."

(Great singing by Yuriy Yurchuk)

Aargauer Zeitung

“Excellent Yuriy Yurchuk”

Seen And Heard International

“Beweglich agiert Yuriy Yurchuk als Manon Vetter’’

(Agile act as Manon cousing by Yuriy Yurchuk)

Sudkurier

“Als Manons Bruder Lescaut war Yuriy Yurchuk ebenso glaubhaft, hier aber nun als Vertreter einer verlogenen Gesellschaft. Der Sänger verfügt über einen kräftigen Bariton, gerade im richtigen Mass für den Soldaten.’’

“As Manon's brother Lescaut Yuriy Yurchuk was just as credible, but now as a representative of a hypocritical society. The singer has a strong baritone, just the right size for the soldier”

Online Merker

“

“Den Cousin Lescaut singt YURIY YURCHUK mit facettenreicher Stimme und überzeugt auch durch sein Spiel.”

( YURYY YURCHUK sings the cousin Lescaut with the multi-faceted voice and also convinces with his acting.)

Opernmagazin

Enfin, nous découvrons un baryton-basse de belle stature : l’Ukrainien Yuriy Yurchuk, voix enveloppante et puissante qui sied à un Lescaut plus charmant encore que sa gentille cousine.

"Finally, we discover a bass-baritone of beautiful stature: the Ukrainian Yuriy Yurchuk, enveloping voice and powerful befitting a Lescaut even more charming than his kind cousin.”

Anaclase

WEXFORD FESTIVAL MARGHERITA REVIEWS

"...but the finest voice on stage belongs to Yuriy Yurchuk, who sings Rodolfo's aria with immaculate Italianate line."

The Times

"Yuriy Yurchuk gave a masterclass in how, with scant time and space, to inject a role with a profundity not immediately apparent in the action, or indeed the score. Count Rodolfo’s Act 1 aria was both nuanced and psychologically weighty."

Opera Today

"Colonel Rodolfo, sung by baritone Yuriy Yurchuk, possesses a rich, deep voice capable of great versatility and his denunciation of the real villain at the end was wonderfully evocative."

Bachtrack

 "Baritone Yuriy Yurchuk’s Count Rodolfo, the man whose testimony helps unwrangle the wrongs of the story, is appropriately full and authoritative"

The Irish Times

"Ukrainian baritone Yuriy Yurchuk... cut an imposing figure with an authoritative swagger that matched his role perfectly. Moreover, his voice had an authoritative edge, which he complemented with refined and beautiful phrasing, and produced a solid reading of the role. His Act one entrance aria was the highlight of his performance, producing an array of warm vocal colours and dynamic shadings."

OperaWire.com

"El noble Conde Rodolfo fue interpretado por el bajo ucraniano Yuriy Yurchuk, de voz noble y bien manejada, adecuado al personaje."

OperaWorld.Es

"Ukrainian baritone Yuriy Yurchuk is commanding in the final showdown where villains are trounced and love triumphs. "

Express.co.uk

"No weak links in a confident cast, with strong vocal leads and apt characterisations lessandra Volpe’s wealthy orphan Margherita, Andrew Stenson’s melancholy soldier boy Ernesto, Giuliana Gianfaldoni as his concerned sister Giustina, Yuriy Yurchuk as his colonel Count Rodolfo"

The Stage