About Dmitry Korchak

See 20 performances featuring Dmitry Korchak

Voice type: Tenor

Future engagements in our database:

Arturo Talbo in I Puritani (Opéra de Paris)

Don Ramiro in La Cenerentola (Cinderella) (Vienna State Opera)

Ferrando in Così fan tutte (Opéra de Paris)

Past performances in our database:

Conte di Libenskof in Il Viaggio a Reims (Teatro alla Scala, 2009)

Count Almaviva in The Barber of Seville (Los Angeles Opera, 2009)

Count Almaviva in The Barber of Seville (Staatsoper Berlin, 2011)

Count Almaviva in The Barber of Seville (Théâtre du Capitole, 2011)

Count Almaviva in The Barber of Seville (Teatro Massimo, 2010)

Count Almaviva in The Barber of Seville (Vienna State Opera, 2011)

Count Almaviva in The Barber of Seville (Teatro Regio di Parma, 2011)

Don Ottavio in Don Giovanni (Vienna State Opera, 2010)

Don Ottavio in Don Giovanni (Théâtre du Capitole, 2013)

Don Ramiro in La Cenerentola (Cinderella) (Vienna State Opera, 2013)

Endimione in L'Arbore di Diana (The Tree of Diana) (Madrid Opera, 2010)

Ferrando in Così fan tutte (New National Theatre, 2011)

Lensky in Eugene Onegin (Vienna State Opera, 2013)

Nemorino in L'Elisir d'Amore (Bavarian State Opera, 2010)

Rodrigo in Otello (La Monnaie | De Munt, 2012)

Read our reviews

Date and venue	Title
14-Feb-2013 Staatsoper	Nostalgia for the Italian Fifties: The Vienna Staatsoper's La Cenerentola
What has made Rossini and his librettist Jacopo Ferretti’s take on Cinderella survive on the opera stage for almost 200 years now is not only the universal archetype of the downtrodden girl who is redeemed by Prince Charming, nor its enchanting music: the absence of fairy-tale symbols like the pumpkin carriage and the glass shoe (barefoot ladies would have been too outrageous a sight on an Italian stage of the time) has perhaps also helped to make it timeless, practical to stage, and largely director-proof. Read full review...

Date and venue

Title

14-Feb-2013
Staatsoper

Nostalgia for the Italian Fifties: The Vienna Staatsoper's La Cenerentola

Image credit: Margarita Gritskova (Tisbe), Tara Erraught (Angelina), Valentina Nafornita (Clorinde) © Wiener Staatsoper / Michael Pöhn

What has made Rossini and his librettist Jacopo Ferretti’s take on Cinderella survive on the opera stage for almost 200 years now is not only the universal archetype of the downtrodden girl who is redeemed by Prince Charming, nor its enchanting music: the absence of fairy-tale symbols like the pumpkin carriage and the glass shoe (barefoot ladies would have been too outrageous a sight on an Italian stage of the time) has perhaps also helped to make it timeless, practical to stage, and largely director-proof.
Read full review...

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