(Credit: Courtesy of TACT International)
Boris Pinkhasovich is a prominent baritone emerging on the international stage. Originally from Saint Petersburg and raised in a musical family, he studied at the Saint Petersburg Conservatory of Music. In 2011, he joined the ensemble at the Mikhailovsky Theatre in Saint Petersburg.
His career expanded globally following significant debuts at major venues such as the Royal Opera House, Paris Opera, Monte Carlo Opera, and Wiener Staatsoper. He has since graced the stages of Teatro alla Scala, Semperoper Dresden, and Bayerische Staatsoper. This season, Pinkhasovich is set to make his debut at the Metropolitan Opera in New York.
The baritone has shared insights into his journey to fame, his experiences with Tchaikovsky’s works, and his upcoming performances.
OperaWire: This season you sang in “The Queen of Spades” in a new production at the Bayerische Staatsoper. Tell me about this role and what excites you about singing Tchaikovsky’s work.
BP: For me, performing Tchaikovsky is not only a great joy but also a great responsibility. Just as Italians rightfully claim Verdi and embody the style and emotions of his music, we, as Russian singers, can proudly say “Viva Tchaikovsky” and look up to him, because his music, with its emotional depth, means everything to us.
I have sung the role of Yeletsky many times, but it never loses its excitement and fresh emotion when I perform the aria “Ya vas lyublyu”—a striking example of Tchaikovsky’s genius.
OW: How does singing in Russian differ from singing in French and Italian?
BP: For me, it does not matter which language I sing in. We are not discussing pronunciation here. Linguistic features are studied separately and then applied, but the correct vocal technique is paramount and the key to everything.
OW: You’ll be returning to the role in June 2025 with a mostly Russian cast at the Wiener Staatsoper. What excites you about this revival and cast?
BP: I performed in this production by Vera Nemirova in 2022. It is staged wonderfully, blending traditional elements with some intriguing, fresh perspectives on the story and characters. In 2025, we anticipate new cast members, including Yusif Eyvazov, with whom I have previously performed in “Pique Dame,” and Anna Netrebko, who will make her role debut as Lisa in Vienna. I am eagerly looking forward to performing this monumental work of Pyotr Ilyich Tchaikovsky again at the Vienna State Opera.
OW: You’ll be singing Robert in “Iolanta”. How different is the music in this opera from “The Queen of Spades”?
BP: This is a very long discussion and a big topic, so we’ll leave that to the musicologists. From my perspective, both works were composed in the final three years before Pyotr Ilyich Tchaikovsky’s death, making “Iolanta,” his last opera, particularly significant. It celebrates not only sunlight and love but concludes in C major with a happy ending.
Unusually for Tchaikovsky’s operas, there is no tragedy or death in “Iolanta.” However, every note carries an underlying sorrow, as Tchaikovsky never composed joyful music, not even in his ballets.
OW: How did Tchaikovsky’s writing evolve from these two operas and which of the characters do you have more in common with?
BP: I would say both characters are somewhat similar. Robert is a knight, and Yeletsky is a prince. What links them is that neither truly loves their chosen ones. Robert’s situation is understandable—he was ordered to marry Iolanta, but his heart belongs to someone else. As for Yeletsky, I believe he does not love Liza either. This might be an unexpected interpretation for many, as he is often seen as a very sweet character with a beautiful aria. However, I view him differently, and in my opinion, a stricter and colder interpretation enhances the music.
OW: You’re making your house debut at the Metropolitan Opera and the Zurich Opera. What excites you most about these debuts?
BP: The first encounter with a new theatre is always thrilling—meeting new people, working with a new orchestra, exploring a new stage, and discovering how the voice sounds in a new auditorium. It is also a significant responsibility to meet the expectations of those who invited you and the audience. My Met debut will also mark my first performance on the other side of the Atlantic, and I am very much looking forward to performing in this prestigious theatre and connecting with an audience that has experienced all the great singers of our time.
OW: How do you pace yourself as your career continues to advance and become more international?
BP: I never think, and have never thought, in terms of career advancement. What matters to me is singing the right roles, avoiding repertoire that could harm my voice, and staying as true as possible to the composers and the works I am performing. I am confident that everything will happen at the right time, and if it doesn’t, it simply wasn’t meant to be.
OW: What are some of the highlights of your career thus far and what are your hopes and dreams as you continue?
BP: I was fortunate to begin my international career at prestigious theatres such as the Bayerische Staatsoper and the Wiener Staatsoper. I greatly enjoy performing at the Royal Opera House in London, and my debut at Teatro alla Scala in April 2023 was another dream come true. I am even more pleased that these theatres continue to invite me back, with exciting projects planned for years to come. On the 30th of June, I sang my 47th performance in a major role at the Vienna State Opera. Given that my debut there as Figaro in “Il Barbiere di Siviglia” was only six years ago, I believe this is quite a good achievement.
OW: You became an Austrian citizen. Why was this an important decision and how does Austria inspire your music-making?
BP: As I mentioned, the Vienna State Opera is the most important stage for me, and Vienna is undoubtedly not only a major centre of the music world but also a place where I feel at home. Therefore, becoming an Austrian citizen is a great honour and joy, and I am very grateful to the Vienna State Opera for their trust and support.
OW: What do you look forward to in the coming 2024-25 season?
BP: The upcoming season will be very intense and exciting with two house debuts: at the Zurich Opera House as Enrico in “Lucia di Lammermoor” and at the Metropolitan Opera as Marcello in “La Bohème.” Additionally, I will make my role debut as Valentin at the Royal Opera House in London and participate in a new production of “Iolanta” at the Vienna State Opera, where I will perform as Robert alongside Sonya Yoncheva as Iolanta. I will also appear as Yeletsky at both the Bayerische Staatsoper and the Vienna State Opera.
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