Oleksandr Pushniak

Lanzelot, Deutsches Nationaltheater Weimar

“The Ukrainian bass-baritone convinced in this dramatic role [Drache] with an expressive overall profile.” Das Opernglas

“The ensemble and the choirs are convincing throughout – of the 30 solo parts, Emily Hindrichs (Elsa) [...] and Oleksandr Pushniak (Drache) must definitely be mentioned.” Orpheus

“The Dragon, a voluminous gentleman, powerfully sung and played with a childish lust by Oleksandr Pushniak” Frankfurter Rundschau

“A highlight of Konwitschny's flawlessly purring production is the dragon itself. Oleksandr Pushniak sings it with droning force and the intelligence of a cunning dictator.” SZ

“His opponent is the jovial dragon of Oleksandr Pushniak, an ensemble member in Weimar, who dominates the stage with sonorous baritone. [...] Anyone who does not keep up is unceremoniously burned, and Pushniak does this with the friendliest and warmest baritone sounds he has at his disposal – and that is a lot.” Klassikinfo

“With great body presence and even greater joy of playing, Oleksandr Pushniak lands an impressive representation of the dragon. The bass-baritone, with the big power of his voice and the vocal and playing art, which is exactly on the tightrope walk between cozy comfort and murderous threat, meets the dangerousness of the despotic, complacent autocrat, who walks over corpses without further ado and completely unpredictably.” Opera Online

“The 30 solo parts cannot all be named. But it is imperative that Emily Hinrichs be mentioned as Elsa and [...] Oleksandr Pushniak as the dragon [...].“ nmz

“Oleksandr Pushniak, as the dragon, has a suitably brawny physiognomy, looks like a Federal President, an upper-class-man or an old-school music director.” Leipziger Volkszeitung

Tosca, Nationaltheater Weimar

“Oleksandr Pushniak, first of all, impresses by his stature. Nobody can get past him. Matching this is a full-sounding baritone, who is very versatile. He knows how to manipulate, to beguile and in the same breath he unfolds a dramatic force that makes you shiver.” Der neue Merker 

The Circle, Nationaltheater Weimar 

“The bass-baritone Oleksandr Pushniak pleases with almost tenderly flowing tones, his Mercer refuses the "digital" world of opera as an analog resting place.” Opernwelt

“Wonderful bass-baritone Oleksandr Pushniak as Mercer” Das Opernglas

„The baritone Oleksandr Pushniak gives the beefy ex-boyfriend Mercer still the most sympathy points, while Sayaka Shigeshima makes the annoying potential of the permanently optimistic Mae in high coloratura clear.” mdr

Sardanapalo, CD-Aufnahme

“As the soothsayer Beleso, Oleksandr Pushniak projects a darkly imposing voice.” BBC Music Magazine

“As priest Beleso, bass-baritone Oleksandr Pushniak trumps powerfully towards the end of the act.“ Das Opernglas 

“Oleksandr Pushniak a serious Beleso playwright with his heavy bass.” Musicalifeiten

“Oleksandr Pushniak is great in the role of Beleso.”  Pizzicato.lu

“Oleksandr Pushniak sings the traditional-spoilsport-bass role of Beleso with all due gravitas.” The Guardian

“Airam Hernández (Sardanapalo) and Oleksandr Pushniak (soothsayer Beleso, the grown-up in the room) contribute forcefully, although not as much as Karabits’s orchestra, on excellent form, weighty with piercing brass and thrusting strings.” The Times

Sardanapalo (UA des Opernfragments von Franz Liszt), Nationaltheater Weimar

“The priest and statesman Beleso admonish the king of his duty to the fatherland. [Oleksandr] Pushniak put this figure on stage with a fulminating bass-baritone.” Der neue Merker

“Pushniak, as the soothsayer and military commander Beleso, showed impressive textural finesse, and used this wisely against a mighty and very bold brass section. There were audible gasps heard within the auditorium as the work ended with a very visceral bang, the drums of war rising and throbbing, reverberating through the walls of the Weimarhalle.” Operacanada.ca

“The Ukrainian bass Oleksander Pushniak designed the role of the priest, who admonished the title hero and tried to dissuade him from suicide, with great volume and expression.” Deutschlandfunk

Don Carlo, Immling Festival

“In the Festival House of Immling, Verdi's Grand Opéra becomes the tragic struggle of the individual with the abysses of power. That does not become clearer than in the atmospherically charged meeting between Filippo II (Oleksandr Pushniak) and the Grand Inquisitor (Gelu Dobrea) in the third act. While the aged churchman, in his relentless belief in power, even gets out of the wheelchair, the massive figure of the bass Oleksandr Pushniak sinks down.” Süddeutsche Zeitung

“The brilliant bass Filippo II (Oleksandr Pushniak) varies between tormenting mistrust and desperate loneliness.” PNP / Regionalausgaben

Tosca, Theater Braunschweig

“Unrestricted praise also goes to Oleksandr Pushniak, who is well-proven in Braunschweig, who impressively embodied the nasty Scarpia and who completed the great combination of the singers into a consummate triumvirate.” Der neue Merker

Aladin, Theater Braunschweig

“Oleksandr Pushniak as power-hungry, violent Grand Vizier Muluk is a baritonal villain in whose voice sensitivity and devious intelligence shimmer through.” FAZ

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