An innate musical talent, young Russian tenor Sergey Romanovsky is quickly establishing himself as one of the most interesting voices of a generation. Having studied at the Tchaikovsky State Conservatory and the Academy of Choral Arts in Moscow, Romanovsky is the winner of numerous competitions, including the 2005 International Bella Voce Competition in Moscow. He currently studies with Olga Mironova and Dmitry Vdovin.
In the 2024/2025 season, Sergey sings the title role in Mozart’s Mitridate, re di Ponto with Les Talens Lyriques at Teatro alla Scala and Théâtre des Champs-Elysées.
Recent operatic highlights include Rodolfo La bohème at Theater Dortmund, Arrigo I vespri siciliani at Opernhaus Zürich, Alfredo La Traviata at Covent Garden and The Royal Opera House in Muscat, Raoul Les Huguenots at Semperoper Dresden, Settimio L’esule di Roma with Opera Rara and his house debut as Duca Rigoletto at Staatsoper Hamburg.
Recent concert engagements include Verdi’s Requiem (his debuts with Vlaanderen Opera and the Berliner Philharmoniker); Mascagni’s Messa di Gloria (Concertgebouw, Amsterdam); and Rossini’s Petite Messe Solennelle (Accademia Nazionale di Santa Cecilia).
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I vespri siciliani
Opernhaus Zürich
The Arrigo of the Russian tenor Sergey Romanovsky quickly stands out . . . the tone is broad and warm, and above all, through the mastery of vibrato, he lends to his character something fragile, distraught, a human depth, an interiority . . .
Charles Sigel, Forum Opera
L'esule di Roma (Settimio)
Opera Rara Recording, 2024
"The cast is superb and keen to deliver the very best the score has to offer . . . the Roman exile – Settimio – is portrayed by Sergey Romanovsky who has a dark-hued tenor with ringing tops and an innate ability to shade and color"
Bob Dieschburg, OperaWire
"Russian-born Sergey Romanovsky displays a warm, Italianate tenor as Settimio, his top notes secure and his lyrical prison scene suitably pathetic."
Clive Paget, Limelight Magazine
Donizetti's L’esule di Roma with Opera Rara
Cadogan Hall, May 2023
"Sergey Romanovsky was a debonair Settimio, his lyrical tenor throbbing with a romantic urgency ideally suited to the writing. His prison scene was strongly sung, voice gleaming attractively at the top (Donizetti inserted it for the La Scala run and one must be glad he did so)."
Dominic Lowe, Bachtrack
"Sergey Romanovsky coped confidently with the taxing extended compass (the part ventures up to a high E), and his tenor has a lovely Romantic richness"
Claire Seymour, Opera Today
"Sergey Romanovsky is a wonderfully stylish lyric tenor. He continued to impress with his command of both style and technique... it was a joy to listen to his stylish singing."
Robert Hugill, Planet Hugill (A world of classical music)
"the tenor Sergey Romanovsky, attacked nerve-shreddingly high music fearlessly"
Neil Fisher, The Times
"Young Russian tenor Sergey Romanovsky [was] a most beautifully toned Settimio"
Robert Thicknesse, Opera Now Magazine
Ernest Guiraud/ Camille Saint-Saëns - Frédégonde (Mérowig)
Theater Dortmund, November 2021, May 2022
Romanovsky is exciting! Not many can match the bursting energy and likewise humane charisma of his voice.
Roland H Dippel, Die Deutsche Bühne, 21 November 2021
Romanovsky as Mérowig has a powerful and lyrical tenor which finds a moving unity in its interplay with (Anna) Sohn's soprano.
Thomas Molke, OMM, 21 November 2021
Sergey Romanovsky is a prince of the higher order not only in his melting tenor but also in the way he holds himself and as a film hero.
Joachim Lange, NMZ, 21 November 2021
(...) Sergey Romanovsky sang (...) with a timbre and a lyrically melting legato suited to the French operatic repertoire."
Sigi Brockmann, Der Opernfreund, 22 November 2021
Rossini's Elisabetta, regina d'Inghilterra (Leicester)
Rossini Opera Festival, Pesaro, August 2021
Sergey Romanovsky is vocally and visually a radiant young Leicester, whose strong tenor voice has great charisma in the upper register. A highlight is the big prison scene in the second act, where he descends from cleanly sung heights to voluminous depths and laments the suffering of his wife Matilde.
Thomas Molke, OMM, 8 August 2021
Sergey Romanovsky takes advantage of the different characters of his rich vocal register. The tone is soaring and captivating; it makes the line of the recitatives rich and smooth. With long breaths, and a moderate use of vibrato, he sings with clean high notes and very convincingly portrays himself as the lover, rather than the soldier, in his aria.
Thibault Vicq, Opera Online, 8 August 2021
The cast includes two tenor roles with similar vocal characteristics, what we now would call a “baritenor”: a dark tenor voice, with strong, powerful high notes. Sergey Romanovsky, as Leicester, fits the bill. His performance was exciting, his high notes confident, his interpretation convincing as the young hero torn between love for Matilde and loyalty to the Queen, who wants him as her husband.
Laura Servidei, Bachtrack, 10 August 2021
Sergey Romanovsky truly impresses as Leicester, one of the baritenor roles which he particularly favours and which allows him to showcase his middle and lower registers, remarkably well projected and integrated into the vocal line. The upper register is not to be outdone […] and the characterisation is very convincing, notably in a very moving prison scene.
Stéphane Lelièvre, Première Loge, 10 August 2021
Tenor Sergey Romanovsky produced a lyrically engaging presentation as Leicester, in which his acting and singing successfully captured the swagger of the returning hero. He possesses a well-supported voice, with a pleasing timbre that he used to good effect, no more so than in the prison scene in which his expressive recitatives captured his weary and forlorn state. From here he moved into the aria “Sposa amata…respira…,” in which he gave voice to his anxiety and sorrow in a powerfully rendered and emotional presentation, which also showed off the beauty of his singing. His ensemble singing also displayed quality. The scena and duet with Matilde, beginning “Incauta, che festi!,” was also wonderfully presented, with both Romanovsky and Jicia producing strong, lyrical performances in which their voices combined to complement each other splendidly.
Alan Neilson, Opera Wire, 26 August 2021
Sergey Romanovsky shows us a Leicester with great class. The voice is both virile and supple […] the baritone timbre is silky and the high notes are beyond reproach. In addition, he deals well with the whims of the staging that make him start his magnificent aria “Fallace fu il content” from behind and then continue it…lying down.
Paul Fourier, Toute La Culture, 16 August 2021
Sergey Romanovsky’s Leicester is a Nozzari-style baritenor, with a solid upper register, a rich lower register, an attractive voice and a familiarity with Rossinian style.
Didier Van Moere, Diapason, 16 August 2021
The tenor Sergey Romanovsky, well known at the Rossini Opera Festival, shows us a Leicester with great vocal resources at his disposal. The Russian singer, with an interesting baritonal timbre and an impressive instrument, knows how to use the whole breadth of his vocal resources to present a magnificent character who stood out, especially in the second act.
Aleix Palau, Revista Musical Catalana, 23 August 2021
Rossini's Elisabetta, regina d'Inghilterra (Leicester)
Théâtre de la Monnaie, March 2021
Sergey Romanovsky in the role of Leicester presents a restrained and dignified voice, deep and indolent, while expressing himself with great momentum
Soline Heurtebise, Olyrix, 12 March 2021
The tenor Sergey Romanovsky plays a Leicester who is enamoured and a little vaporous [...] the tone is smooth, the legato very studied and mastered
Benedict Hévry, ResMusica, 14 March 2021
[Romanovsky] knows never to interrupt the line [...] the aria flows with appreciable ease
Christophe Rizoud, Forum Opéra, 14 March 2021
Remote Voices Gala Concert
Wexford Festival Opera, October 2020
The obvious highlight of the festival was the Gala Concert […] most exciting was Sergey Romanovsky sailing through the tenor stratospherics from Rossini’s Guillaume Tell.
Opera Now, January-February 2021
Verdi's Requiem
Bregenzer Festspiele, July 2019
Luisi was helped by a superb vocal quartet, particularly Sergey Romanovsky, whose honeyed lyric tenor was an ideal weight and color for the part. Sunny and flexible, yet still full-bodied, his instrument matched even the most difficult demands of the music with its ringing top and flowing middle. The “Hostias” was breathtaking, a warm, hazy ray of light opening up into shining brightness. He poured rich emotion into the crafting of his phrases and chose exquisite moments to push his tone for emotional effect, as in the keen pleading of the “Ingemisco.”
Eric Simpson, Operawire, 30 July 2019
Lakmé (Gérald)
Royal Opera House Muscat, March 2019
Sergey Romanovsky brought plangent tone and ardent presence to the smitten officer Gérald
John Allison, Opera magazine, June 2019
Rossini's Ricciardo e Zoraide (Agorante)
Rossini Opera Festival, Pesaro, August 2018
...he’s that rare thing: a bel canto tenor with a pronounced baritonal timbre.
Christopher Cook, BBC Music Magazine, January 2020
the darker timbre of Sergey Romanovsky contrasted effectively with Flórez's voice. Romanovsky coped easily with an extensive range reaching from low A flat to high C, sometimes within a single phrase.
Carlos María Solare, Opera Magazine, November 2018
Agorante, the Nubian king who kidnapped Zoraide, was Sergey Romanovsky, who made an impression last year in Pesaro in Le Siège de Corinthe, as Néoclès. Agorante is a baritenor, a classic Nozzari role, and Romanovsky was very much at ease in this tessitura. He was commanding and charismatic on stage, very credible as the warrior-king.
Laura Servidei, Bachtrack, August 2018
Agorante was sung by Russian tenor Sergey Romanovsky whose darkly colored tenor voice soared with easy heft to the required high C’s, simultaneously sculpting elaborate coloratura in his lengthy aria. It was his one and only aria, an auspicious inauguration of this evening of spectacular vocal fireworks.
Michael Milenski, Opera Today, August 2018
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