reviews
Rossini ''La Cambiale di Matrimonio'' Rossini Opera Festival 2020
"лирический баритон Юрий Самойлов, известный Москве по исполнению титульной партии в «Билли Бадде» в Большом театре. Россиниевская стилистика для него не менее органична, чем бриттеновская: красивый голос, великолепная техника и выразительное звучание создали незабываемый образ благородного канадца"
Матусевич Александр, 18.8.2020
"Inedito lo Slook di Iurii Samoilov, baritono ucraino dalla non sgradevole patina fonetica – soprattutto qui, dove sostiene il ruolo dello straniero – e sciolto dalla tradizione per via di un canto e di una presenza entrambi giovanili, baldanzosi, ormonalmente traspiranti e insomma utili a illustrare l’uomo rifiutato da Fannì non per cisposità di lui, ma per rigore morale di lei"
Francesco Larail, 17.8.2020
"Le pragmatique Canadien est interprété par Iurii Samoilov, qui a de faux airs de Giuliano Gemma jeune, ce qui en fait un prétendant fort séduisant ; on peut le regretter car le personnage doit d'abord apparaître comme un ours mal dégrossi, en tout cas un homme carré étranger aux hypocrisies urbaines. Mais la voix est bien conduite, le timbre agréable et la désinvolture scénique impeccable"
Maurice Salles, 19.8.2020
"Innanzi tutto il baritono ucraino Iurii Samoilov, voce ampia e vibrante abbinata a una presenza scenica affascinante e mattatrice, che nei panni del rude Slook, arrivato dal Canada con tanto di orsa-cameriera, ha messo in luce una personalità cantante-attore da tenere d’occhio"
Silvia Poletti 18.8.2020
"È ucraino, ma non si sente, Iurii Samoilov, che interpreta uno Slook giovane e di bell'aspetto per il quale non si può che provare simpatia: non un arricchito gradasso d'oltreoceano, ma un ragazzotto estroverso, onesto e di spirito, spaesato di fronte ai costumi europei. La voce è molto interessante e, con i suoi trentadue anni, ancora passibile di evoluzione, ma già ora risulta spigliato, sicuro e convincente"
Roberta Pedrotti, 16.8.2020
"Slook was played by the Ukrainian baritone Iurii Samoilov. His strong stage presence allowed for a compelling portrait of a virile, unsophisticated, but honest stranger who is bemused by city society.
His voice has an alluring timbre, strength, and flexibility, enabling him to produce a satisfying vocal presentation.
The finale, “Porterò cosi il cappello,” in which Mill acts out the actions of the duel, much to the amusement of Slook who watches on, was well-choreographed, and again focused on the comedic possibilities, and showed off Samoilov’s acting skills well"
Alan Neilson, 11.8.2020
"azzeccato lo Slook del basse-baritone Iurii Samoilov dall’ottima grana timbrica, acrobatico nel gesto e nella vocalità, lo sarebbe maggiormente se riuscisse ad avere una postura più eretta del capo: nell’aria di sortita Prima il padron di casa ha convinto per la buona pronuncia italiana e l’ampiezza vocale"
Andrea Zepponi, 10.8.2020
Mozart "Cosi fan tutte" and Don Giovanni" La Monnaie 2020
Puccini "Manon Lescaut" Oper Frankfurt 2019
“Ganz grandios auch Iurii Samoilov mit schön gerundetem Bariton als leichtlebiger Lescaut, der sich so schnell und glaubhaft in die Halbwelt einfügt, dass man kaum glauben kann, dass er die Rolle nur spielt.”
[Translted] “Quite grandiose also was Iurii Samoilov with a nicely rounded baritone as a light Lescaut who fits so fast and believable in the demimonde that you can hardly believe that he plays the role only.”
Kaspar Sannemann, 06 October 2019
“Iurii Samoilov als Lescaut is een natuurtalent, een geboren acteur. Dat wisten we al sinds Die Lustige Witwe. Het wordt tijd om hem weer eens in een grotere rol te zien.”
[Translated] “Iurii Samoilovas Lescaut is a natural talent, a born actor. We have known that since Die Lustige Witwe. It is time to see him again in a bigger role.”
Jos Hermans, 15 October 2019
“Auch alle übrigen Partien, darunter insbesondere der ukrainische Bariton Iurii Samoilov als Manons Bruder Lescaut und der Tenor Michael Porter als Student Edmondo, sind trefflich besetzt.”
[Translated] “All other parts, including in particular the Ukrainian baritone Iurii Samoilov as Manon’s brother Lescaut and the tenor Michael Porter as a student Edmondo, are excellently staffed.”
Kirsten Liese, 07 October 2019
“De uit Oekraïne stammende bariton Iurii Samoilov wist zich uitstekend te weren en zette een in deze setting zeer geloofwaardige Lescaut neer.”
[Translated] “Baritone Iurii Samoilov, who comes from Ukraine, was able to defend himself perfectly and set up a very credible Lescaut in this setting.”
Peter Franken, 12 November 2019
“Iurii Samoilov überzeugte als rüpelhafter Rookie und Bruder Manons, voller Tattoos und moralisch bedenklichen Ansichten, denn die Korrumpierbarkeit scheint in der Familie zu liegen. Stimmlich und darstellerisch fügte sich der recht metallisch klingende Bariton in Ollés Produktion perfekt ein.”
[Translated] “Iurii Samoilov convinced as a rude rookie and brother Manon, full of tattoos and morally questionable views, because the corruption seems to be in the family. Vocally and dramatically, the quite metallic-sounding baritone was perfect for Ollé’s production.”
Alexandra Richter, 12 October 2019
Schreker "Der ferne Klang" Oper Frankfurt 2019
“Besonders beeindruckend stach Iurii Samoilov aus der Gruppe der betrunkenen Männer hervor. Mit beängstigender Überzeugung und bedrohlichem Timbre repräsentierte der Bassbariton einschüchternd die Masse, die sich unentwegt an Grete vergreifen zu versucht.”
[Translated] “Especially impressive was Iurii Samoilov from the group of drunken men. With frightening conviction and threatening timbre, the bass-baritone intimidated the masses, who constantly tried to attack Grete.”
Alexandra Richter, 01 April 2019
Bellini "I Puritani" Oper Frankfurt 2018
“Sir Riccardo Forth è impersonato da Iurii Samoilov, giovane baritono di cui abbiamo avuto modo di apprezzare le qualità ne Le siège de Corinthe al ROF e a Madrid nel Gallo d’oro. La scrittura nata per Tamburini è parecchio insidiosa, non solo per la coloratura prevista nella prima aria. Samoilov viene a capo della difficile “Ah per sempre io ti perdei” in maniera magistrale, con una voce ricca e copiosa e una coda articolata che sembra non aver mai fine, coronata da una lunga cadenza esplicitata da Bellini in partitura. La cabaletta “Bel sogno beato” è un altro episodio sublime di bel canto e il baritono esegue anche la battute cassate con una frase avviluppata che sembra “autogenerarsi”. Nel famoso duetto con il basso la voce timbrata e dotata di squillo esalta le parole “Patria” e “Libertà” con un trionfale applauso a fine secondo atto.”
[Translated] “Sir Riccardo Forth is personified by Iurii Samoilov, a young baritone whose qualities we have been able to appreciate in Le siège de Corinthe at the ROF and in Madrid in the Gallo d’oro. The writing born for Tamburini is quite insidious, not only for the coloratura planned in the first aria Samoilov comes at the head of the difficult “Ah forever I lost you” in a masterly manner, with a rich and copious voice and an articulated tail that never seems to end, crowned by a long cadence explicitly expressed by Bellini in the score The “Bel sogno beato” cabaletta is another sublime episode of bel canto and the baritone also performs the cassate lines with a wrapped phrase that seems to “self-generate.” In the famous duet with bass the stamped and ringing voice enhances the words “Patria” and “Libertà” with a triumphal applause at the end of the second act.”
Fabio Tranchida
“Großartig breiten sich Kihwan Sims fundamentaler Bassbariton als Elviras Onkel und Iurii Samoilovs weicher, staunenswert reifer Bariton als Arturos Rivale in der Tiefe aus. Ihnen gehört das wahre Herz der „Puritaner“ mit dem Duett am Ende des 2. Aktes.”
[Translated] “Kihwan Sim’s fundamental bass baritone, Elvira’s uncle, and Iurii Samoilov’s soft, astonishingly mature baritone, are faring fiercely as Arturo’s rival in depth, and they have the true heart of the” Puritans “with the duet at the end of the second act.”
Judith von Sternburg
“On salue, également, le très honnête Riccardo du jeune baryton ukrainien Iurii Samoilov, qui gagne en assurance au fi l de la soirée”
[Translated] “We also salute the very honest Riccardo of the young Ukrainian baritone Iurii Samoilov, who gains in insurance after the evening”
Nicolas Blanment
Donizetti "L’elisir d’amore" Macerata Opera Festival 2018
“Belcore alto, biondo, atletico e vanesio di Iurii Samoliov. E anche vocalmente il giovane russo esibisce spavaldo una fresca e ben timbrata voce baritonale”
[Translated] “Belcore tall, blond, athletic and vain by Iurii Samoliov. And also vocally the young Russian exhibits a fresh and well-marked baritone voice boldly”
Roberta Pedrotti
“Iurii Samoilov, che dalla sua ha, oltre ad una vocalità salda e ben impiegata, un invidiabile physique du rôle, perfetto per il taglio registico di Michieletto, tratteggia un Belcore ideale.”
[Translated] “Iurii Samoilov, who has an enviable physique du rôle, perfect for Michieletto’s directorial style, outlines an ideal Belcore.”
Alessandro Cammarano
Lehar "Die lustige Witwe" Oper Frankfurt 2018
“Lui è Iurii Samoilov, bello e dannato, forzato del divertimento perché non è uno che possa dargliela vinta. Entrambi stanno al (doppio) gioco cantando e danzando benissimo.”
[Translated] “He is Iurii Samoilov, handsome and damned, forced to have fun because he is not one who can give it to him. Both are playing (double) singing and dancing very well.”
Stefano Nardelli
“Mit Marlis Petersen und Iurii Samoilov steht Regisseur Claus Guth für seine Inszenierung ein Operetten-Traumpaar zur Verfügung, das in seiner Gebrochenheit mit modernen Problemen kämpft und sowohl Backstage als auch Onstage Hollywoodqualitäten beweist. Jede einzelne der Premierenminuten, die sich Marlis Petersen und Iurii Samoilov, beide Debütanten in ihren Rollen, auf der Bühne umkreisen, lieben, hassen und beim Tanzen in tiefster Verfallenheit miteinander ringen, summieren sich zu zweieinhalb künstlerischen Sternstunden, die das Publikum von Beginn an elektrisieren.”
[Translated] “With Marlis Petersen and Iurii Samoilov, director Claus Guth has created an operetta dream couple, whose brokenness struggles with modern problems, proving both Backstage and Onstage Hollywood qualities, each one of the opening minutes, Marlis Petersen and Iurii Samoilov “The two debutants in their roles, orbiting, loving, hating, and wrestling with each other in their dances, add up to two and a half artistic moments of magic that electrify the audience from the start.”
Bettina Boyens
“Großartig ist auch Iurii Samoilov als baritoncremiger Strizzi im Frack, ein Frauenverführer und -verächter, der hauptsächlich vor sich selbst ins Maxim flieht, obwohl er doch nur Hanna lieben müsste. Aber seine Lippen schweigen, nur die Taten sprechen Bände. Und den man trotzdem gern haben muss. Weil er so viel zerquält kerlige Leidenschaft versprüht und die in samtigweiche Töne gießt.”
[Translated] “Great is also Iurii Samoilov as a baritone-creamed Strizzi in a tailcoat, a seducer and seducer of the women, who escapes mainly to Maxim, although he would only love Hanna, but his lips are silent, only the deeds speak volumes Because he so much torments violent passion sprayed and pours in velvety soft tones.”
Manuel Brug
“Zweiter Triumph war, dass der gleichfalls aus dem Frankfurter Opernstudio zum begehrten Solisten gereifte Ukrainer Iurii Samoilov nicht nur vom Film-Regisseur fein ironisch für seinen echt balkanischen Dialekt gelobt wurde, sondern mit seinem höhensicheren Bariton dem Schlawiner Danilo eine herrlich un-tenorale Männlichkeit gab. Das Werben und Herausfordern von Hanna-Marlis als reifere Frau um dieses Mannsbild wurde glaubhaft”
[Translated] “The second triumph was that the Ukrainian Iurii Samoilov, who had also matured from a Frankfurt opera studio into a coveted soloist, was not only praised ironically by the film director for his real Balkan dialect, but also gave the crooner Danilo a wonderfully un-tenoral masculinity with his secure baritone The promotion and challenge of Hanna-Marlis as a mature woman around this man image was credible.”
Wolf-Dieter Peter
“Iurii Samoilov ist als Danilo immer von einer starken Brise umweht, die sich zwar nicht in schneller Reaktion, aber letztendlicher Zielstrebigkeit manifestiert und sich dabei in einem guttimbrierten klangkräftigen Bariton niederschlägt”
[Translated] “As Danilo, Iurii Samoilov is always enveloped in a strong breeze, which does not manifest itself in a quick reaction, but ultimate purposefulness and is reflected in a well-timbred strong-sounding baritone”
Friedeon Rosén
“Ihr Danilo Iurii Samoilov ist ein stimmlich und körperlich behänder Beau, den die Regie sympathisch und sympathisierend auf die leichte Schulter nimmt.”
[Translated] “Her Danilo Iurii Samoilov is a vocally and physically modest Beau, whom the director takes sympathetically and sympathetically lightly.”
Judith von Sternburg
Rossini "La cenerentola" Oper Frankfurt 2018
Britten "Billy Budd" Bolshoi Theatre 2016
“Budd is full of power and youth, despair, enthusiasm and humanity (in this production he is as well defiantly handsome), captivates the public with his first aria, the farewell to the old life. And the final lullaby, which the chained sailor sings to himself, touches even the most callous heart.”
‘With his first appearance, Samoilov prepossesses the audience and the whole crew, he disarms them with a warm sound; with his radiant baritone, he enlivens the simple-minded guy who obviously knows a little more than we do.’
‘…the discovery of the production is Iurii Samoilov as Budd. A wonderful baritone, a brilliant actor with post-Soviet origins and European career…..he is the most radiant star of this show. His Budd is passionate, gentle, loyal, not a poster-like and musically great. He simply cannot go down in history as not an outstanding one.’
30 November 2016
“The title role is Iurii Samoilov’s debut on Moscow stage. The young gifted singer has an extraordinary biography”
“The production is full of brilliant vocal work….Iurii Samoilov from the Frankfurt Opera (Billy) is so good at singing and so suitable for his character that it seems that he was the prototype for Budd.”
‘The young sailor Billy Budd (Iurii Samoilov with his hedonistic, beautiful lyric baritone), innocent and bright, the favourite of the whole team…’
‘The performer of the title role Iurii Samoilov….was the revelation of the evening with his stable lyrical baritone, light, with accurate intonation and a pleasant timbre.’
‘Billy Budd’s name is Iurii Samoilov, but he is also a singer from Europe with beautiful baritone and stage charm: a ballad, written by Britten in a deliberately simple way, in which the protagonist says goodbye to life, efficiently plunges everyone into tears.’
28th November 2016
‘Western soloists are gently mixed with Russian ones, among which the most important discovery is a young and charming Minsk-Kiev-Frankfurt baritone Iurii Samoilov, a remarkable Billy Budd, the star of the production.’
Mozart "Don Giovanni" Dutch National Opera 2016
Mozart "Le Nozze di Figaro" Oper Frankfurt 2015
‘Die jungen Sänger aus dem Ensemble bzw. Opernstudio begeisterten mit Elan und schönen Stimmen, die gleichermaßen zu loben sind. Allen voran Kihwan Sim (Figaro), Louise Alder (Susanna), Iurii Samoilov (Graf) und Nina Tarandek (Cherubino)’
[Translated] ‘The young singers from the ensemble or opera studio thrilled with verve and beautiful voices, which are equally praiseworthy. Above all Kihwan Sim (Figaro), Louise Alder (Susanna), Iurii Samoilov (Count) and Nina Tarandek (Cherubino)’
Mozart "Don Giovanni" Oper Frankfurt 2015
“Ein beeindruckendes Debüt in der Titelrolle gibt der junge Bariton Iurii Samoilov. Er kam dazu wie die sprichwörtliche Jungfrau des Kindes. Das Jahresprogramm führte ihn noch als Masetto. Doch dann wurde der für den Giovanni Johannes Martin bestimmte Kränzle krank… Iurii Samoilov wurde gerade vom Opernstudio in das ständige Ensemble übernommen, machte in dieser Spielzeit bereits als Marcello in La Bohème auf sich aufmerksam und nutzt nun das Glück der Einspringer. Man kann sagen: Er gibt der Inszenierung den Titelheld, den Gerhaher ihr verweigert hatte. Sie können einen kraftvollen und dennoch noblen Bariton mit einer attraktiven Höhe hören.”
[Translated] “An impressive debut in the title role is provided by the young baritone Iurii Samoilov. He came to it like the proverbial virgin to the child. The annual program still led him as Masetto. But then the intended for the Giovanni Johannes Martin Kränzle fell ill… Iurii Samoilov was just taken over by the opera studio to the permanent ensemble, made in this season already as Marcello in La Bohème attention and now uses the luck of the Einspringers. One can say: He gives the production the title hero, whom Gerhaher had refused her. You can hear a powerful yet classy baritone with an attractive height.”
‘Iurii Samoilov feierte in der Titelpartie sein Rollendebüt und machte seine Sache stimmlich und darstellerisch gut. Ein Mann, der gut fürs Anbaggern ist, weil er mit seiner Stimme die Frauen betört.’
[Translated] ‘Iurii Samoilov celebrated his role debut in the title role and did well vocally and dramatically. A man who is good for picking, because he infatuates the women with his voice.’
Matthias Gerhart
‘Die Titelrolle übernimmt der ukrainische Sänger Iurii Samoilov, der an der Oper Frankfurt sein Rollendebüt als Don Fiobanni feierte. Der junge Sänger weiss mit seiner Bühnenpräsenz zu überzeugen, Bei, ‘Là Ci Darem La Mano’ ist es nicht allein Zerlina, die dem Charme Don Giovannis erleigt.’
[Translated] ‘The title role will be taken over by the Ukrainian singer Iurii Samoilov, who made his role debut as Don Fiobanni at the Frankfurt Opera. The young singer knows how to convince with his stage presence. At ‘Là Ci Darem La Mano’, it is not only Zerlina who does the charm of Don Giovanni.’
Puccini "La Boheme" Oper Frankfurt 2014
“Überraschung des Abends war der gebürtige Ukrainer Iurii Samoilov in der Rolle des Malers Marcello. In der letzten Saison war er noch Mitglied des Opernstudios und jetzt hat er, quasi zum Mann gereift, hier seine erste große Rolle. Er gestaltet sie mit großem schauspielerischen Talent und stimmlicher Präzsion, als hätte er sie schon immer gespielt. Nicht ohne Grund erhielt er den stärksten Applaus.”
[Translated] “Surprise of the evening was the Ukrainian born Iurii Samoilov in the role of the painter Marcello. Last season he was still member of the studio and now with his first big role here he has, so to speak, grown into a man. He portrayed the role with great acting talent and vocal precision. Not without reason he receive the biggest applause.
Markus Gründig
“Richtigen Spaß macht es, den zweiten Debütanten Iurii Samoilov dabei zu erleben, wie er in der Rolle des Marcello aufgeht. In der vergangenen Saison gehörte der junge Bariton noch dem Opernstudio an. Mit dem Debüt als Marcello gibt er zugleich seinen Einstand als neues Ensemblemitglied. Er bewältigt die Herausforderung souverän. Seine Stimme besitzt einen wohltönenden Kern, ist in allen Registern ausgeglichen und überzeugt mit unangestrengter, geradezu tenoraler Höhe. Man merkt ihm die Freude darüber an, sich endlich in einer größeren Rolle beweisen zu können.”
[Translated] “It’s really fun to see the second debutant Iurii Samoilov performing in the role of Marcello, who was a member of the opera studio last season and also makes his debut as a new member of the ensemble with his debut as Marcello. He masters the challenge confidently, his voice has a sonorous core, is balanced in all registers and convinces with effortless, almost tenoral height.You can tell from the joy of finally proving himself in a bigger role.”
Michael Demel
Rossini "Il Viaggio a Reims" Rossini Opera Festival 2014
“Ad aprire il concerto un brano da La Cenerentola: la Cavatina di Dandini “Come un’ape ne’ giorni d’aprile” eseguita dal baritono ucraino Iurii Samoilov. Una bella interpretazione. Samoilov ha mostrato grande mimica, sembrando il miglior Praticò.”
[Translated] “To open the concert, a song from La Cenerentola: the Cavatina by Dandini” Like a bee in the days of April “performed by the Ukrainian baritone Iurii Samoilov. A beautiful performance.”
Luciano Murgia
Young Singers project Salzburger Festspiele 2013
Verdi Concert Oper Frankfurt 2013
“Sehr souverän präsentierte sich auch der Bariton Iurii Samoilov, der den stärksten Applaus vom Publikum erhielt. Von seinen vier vorgetragenen Liedern sei die glückseliges Temperament verströmende Kanzonette „Brindisi“ erwähnt, die er mit Schmiss präsentierte, als sei sie ihm auf den Leib geschrieben worden.”
[Translated] “”Baritone Iurii Samoilov, who received the strongest applause from the audience, presented himself very confidently, mentioning the blissful temperamental cantina” Brindisi “of his four recited songs, which he presented with Schmiss as if it had been written for him.”
Markus Gründig
Neue Stimmen Gütersloh 2010
“So übertrug sich die leidenschaftliche Musik im Duett aus Leoncavallos “Bajazzo” so gründlich auf die Interpretation, dass Sopranistin Narine Yeghiyan (Armenien) und der ukrainische Bariton Iurii Samoilov die Ausdruckskraft ihrer Stimmen mit einem innigen Kuss besiegelten.”
[Translated] “The passionate music in the duet from Leoncavallo’s” Bajazzo “was so thoroughly interpreted that soprano Narine Yeghiyan (Armenia) and Ukrainian baritone Iurii Samoilov sealed the expressiveness of their voices with a heartfelt kiss.”
Matthias Gans