Scarpia in Tosca with Arizona Opera
"As Scarpia, Aleksey Bogdanov sang with resounding tones
that carried through the Te Deum's heavy orchestration."
- Opera Today
Lionel in The Maid of Orléans with Odyssey Opera
"Aleksey Bogdanov was a standout for his resonant,
flexible baritone as the Burgundian Knight Lionel."
- The Boston Globe
"Lionel, a role short but intense, enters the scene at
fever pitch which rarely subsides. Aleksey Bogdanov's
ringing high baritone typified the bold warrior,
casting an ardent glow."
"In the brief role of Lionel, Aleksey Bogdanov
found the bold strength of the battle-worn character.
His love duet with Joan in Act 3 was achingly beautiful
and made the most of their flash-in-the-pan romance."
- Boston Classical Review
"With his rich, smooth baritone, Aleksey Bogdanov's Lionel
presented the perfect foil as he and Aldrich poured
everything they had into the great love duet capturing
the myriad of emotions assigned to their characters,
in some of the most beautiful singing of the evening."
Jack Rance in La fanciulla del West with Opera Carolina
"Aleksey Bogdanov was both intimidating and
sympathetic as Rance, and brought a dark,
rich baritone with plenty of luster to the part."
- Opera News
"Rance's part requires that he distinguish himself
among all these other men, which Bogdanov certainly did;
his singing was not only beautiful but characterful."
- The Charlotte Observer
"A tall, handsome man, Mr. Bogdanov's Sheriff was appropriately
masculine and multi-dimensional. His baritone is dark toned
and large, with a swaggery grit that allowed the singer
to cut through the orchestral fabric with apparent ease."
"As Sheriff Jack Rance, baritone Aleksey Bogdanov is a powerful,
menacing presence - Scarpia - like in his driving urges."
"Clad in a suit of a hue that seemed drawn from Lake Tahoe,
Bogdanov was a thrillingly-sung Rance who was all the more
dangerous for being so debonair."
- Voix des Arts
"Il tris d'assi degli artisti era completato da Aleksey Bogdanov
che ha messo a disposizione di Jack Rance, il viscido Sceriffo,
la sua bella voce, di bel timbro scuro e potente."
- l'Opera International Magazine
Scarpia in Tosca with Opera North
"...put in the shade by Aleksey Bogdanov’s superb Scarpia.
The Russian–American baritone, in granitic voice, offered
star quality in every way. The text was scrupulously shaped,
with considerable dynamic range and a musical finesse the
role rarely receives. Dark-haired and pale, Bogdanov made as
sensual and sexy a Scarpia as we’ve seen since the heyday of
Milnes and Díaz: he telegraphed, to both Tosca and his audience,
his enjoyment of his own villainy. This near-vampirish concept
got unexpected backup from a live bat that dive-bombed Bogdanov."
- Opera News
"Aleksey Bogdanov, as the flagitious Baron Scarpia, crafted a
performance of cleverly observed idiosyncrasies and louche gestures.
His voice, wonderfully grave and sonorous, gave Scarpia's Act II credo
of rough wooing, "Già, mi dicon venal" a richly dripping lasciviousness;
and throughout his sadistic cat-and-mouse game with Tosca, his head
cocked to one side, lips pursed as if sucking marrow from a bone,
Bogdanov's Scarpia was the very embodiment of corrosive and
"It is Bogdanov's Scarpia, however, that will never fade from memory
and could haunt my dreams. From the moment he thunders onto the
stage to a chorus of jackboots making their way through the audience,
he is poisonous. He bullies the sacristan and starts playing mind games
with Tosca. His personal brand of evil blossoms in Act II, commanding
Cavaradossi's torture and taunting Tosca with his threats of rape.
He is utterly hateful, but never cartoonish. As my companion noted,
even his groping of Tosca is realistic, and it makes the skin crawl."
"This production is blessed to have Bogdanov,
who is as fine an actor as he is a singer.
Bogdanov commands attention the minute
he comes on stage in Act I, and he holds it
all the way through. He pays attention to
the small details: there's even a flicker of
something that looks, for a mere second,
like shame, or at least reflection, when
Tosca upbraids him for his coarse cynicism."
- Valley News
"Opera North had a stellar villain in bass-baritone
Aleksey Bogdanov with both the physical and vocal presence
to terrorize. Bogdanov did this, singing beautifully,
and with grandeur. Now that's a villain."
- The Barre Montpellier Times Argus
Anton Rubinstein's The Demon at The Cutler Majestic Theatre
"He's magnificent...with a voice as infinite as those galaxies,
and infinitely attentive to the nuances of his text."
- The Boston Musical Intelligencer
"The vocal excitement of the evening - and I mean excitement -
was provided by the young baritone Aleksey Bogdanov as the Demon.
From his opening monologue in which he displayed a strong, powerful
voice, Bogdanov let you know that he was a singer to pay attention to -
and a name to remember - but how could you not? He commanded
every scene he was in. And for a Demon, a figure cursed of God,
Bogdanov was remarkably sympathetic. He made us see and feel
his estrangement from society, even as he wreaked havoc on humans.
Bogdanov's voice, rich and articulate through its registers,
like molten chocolate, makes his conquest believable."
- Berkshire Fine Arts
Nourabad in Les pêcheurs de perles with Tulsa Opera
"Aleksey Bogdanov as the high priest Nourabad
more than lived up to the final syllable of the character’s name,
played here as an out-and-out villain, complete with bullwhip
and maniacal laugh — at times, Bogdanov reminded one of
the villain from 'Indiana Jones and the Temple of Doom.'"
- Tulsa World
"Russian American baritone Aleksey Bogdanov as the high priest,
Nourabad, adds a needed contrast...Bogdanov is a little over-the-top
as the villain of the opera, with his maniacal laugh and cracking
a huge bullwhip. After all, he is a Brahmin (Hindu) priest pledged
to gentleness and to never hurt a living thing. Of course, this is a
version of priest that lives on an isolated island, so things might
have evolved differently there."
Peter in Hansel and Gretel with Washington National Opera
"No voice is more welcome in Hansel and Gretel than baritone
Aleksey Bogdanov, richly expressive as the worker who
recently scored a basket of goods..."
"More than fine was Aleksey Bogdanov, a Domingo-Cafritz alumnus who
is by way of becoming a WNO stalwart this season; he stood out not only
because of his warm and confident singing, but because he, almost alone
among the cast, could be understood."
- The Washington Post
"Aleksey Bogdanov's happily tipsy Father lightened the mood."
"Most impressive vocally was Russian-American baritone
Aleksey Bogdanov, who sang joyfully and with great authority."
- The Georgetowner
"The father, played by baritone Aleksey Bogdanov, sings a booming
and cheerful role reminiscent of Father Christmas himself."
"Father Peter, Aleksey Bogdanov, is a wonderfully happy-go-lucky
father whose soothing baritone blends impeccably..."
Governor George Wallace in Appomattox with Washington National Opera
"Standouts among the really wonderful cast included Aleksey Bogdanov
with a pitch-perfect oiliness as George Wallace."
- The Washington Post
"Matters pick up considerably in Act 2, with the arrival of LBJ...his scenes with George Wallace
(a splendidly slimy Aleksey Bogdanov) are hilarious."
- The Wall Street Journal
"Aleksey Bogdanov had a memorable turn as a loathsome George Wallace."
- The Classical Review
"As 'that bastard George Wallace' Aleksey Bogdanov and LBJ have an
entertaining scene together, in which LBJ, as was his wont, attempts
to physically intimidate Wallace."
"Aleksey Bogdanov is in fine form as
segregationist Governor George Wallace."
Escamillo in Carmen with Washington National Opera
"Baritone Aleksey Bogdanov is a robust Escamillo; his rendition of the
'Toreador Song,' 'Votre toast, je peux vous le rendre,' was full of bravado
and confidence. Bogdanov’s performance leaves little doubt as to how
the bullfighter could turn Carmen’s head."
Sharpless in Madama Butterfly at The Glimmerglass Festival
"Aleksey Bogdanov was a firm-voiced Sharpless, dignified even in despair."
- The New York Times
"Aleksey Bogdanov was a fine Sharpless, delineating the consul's
moral dilemma through careful attention to the text."
- Opera News
"As Sharpless, Aleksey Bogdanov commanded a handsome dark quality
wedded to a solid baritone. His rich singing and effective presence
actually made the role memorable."
- Opera Today
"Highest accolades go to baritone Aleksey Bogdanov as Sharpless.
His performance was so engaging that, without upstaging his colleagues,
he almost shifted the opera's focus to his character's own emotional turmoil."
- Broad Street Review
"Aleksey Bogdanov, as Sharpless, makes the consummate diplomat,
sympathetic but tragically innefective. He is that rare thing,
a thinking singer.He makes clear his every thought process.
His voice carries a rich, mature sound..."
- DC Theatre Scene
"Bogdanov's expressive acting and velvety baritone exude empathy..."
- Syracuse Post-Standard
"Aleksey Bogdanov sang Sharpless with uncommon depth
and sensitivity. In addition to substantial artistry,
he has enormous stage presence and intelligence."
"Aleksey Bogdanov incarne à merveille l'embarass du consul et sa
clairvoyance devant le comportement de Pinkerton."
- Le Devoir
Eugene Onegin at Edmonton Opera
"Aleksey Bogdanov plays Onegin for the dark side of the character...
and he brings to it a steely, dark-hued baritone, dominating but world-weary..."
- Edmonton Journal
"A strong and dashing figure onstage, I was reminded of Mr. Darcy from
Pride and Prejudice. He has a rich, full voice that makes you understand
why Tatyana loves him and Olga loves to flirt with him."
- Finster Finds
Escamillo in Carmen at The Atlanta Opera
"Aleksey Bogdanov rounded out the international cast
with a confident portrayal of Escamillo. Bogdanov's voice
rumbles rivetingly from top to bottom."
- Opera News
"In his Atlanta Opera debut, Aleksey Bogdanov delivered a charming
Escamillo with ability and presence, all complimented by the warm
texture of his baritone voice."
- Atlanta Examiner
"...an arousing potrayal of Escamillo, the bullfighter and José's
rival. Bogdanov's steely voice was penetrating, an acoustic gift
to squillo-loving opera fanatics."
"He was the possessor of an even, well-placed voice capable of caressing
the suave contours of his music. During his altercation with Don José in
the third act, he was approporiately debonair and cocky, and reserved his
sweetest tone for his final exchanges with Carmen. Looks wise, he exuded
a dangerous sexuality onstage."
Escamillo in Carmen at Opera Theatre of Saint Louis
"Aleksey Bogdanov had all the moxie needed to voice a preening,
pompous Escamillo. His tightly focused, riveting baritone made
short order of the Toreador song..."
- Opera Today
"Aleksey Bogdanov is an ideal Escamillo - a preening,
self-satisfied showoff who understands exactly what
he's getting into with Carmen. His Act Two 'Toreador Song'
has all the swagger and flash you could wish for."
"As Carmen's second conquest, Escamillo, Aleksey Bogdanov did a fine
job of backing up the toreador's swagger with a strong bass-baritone."
- Oregon Music News
"Aleksey Bogdanov's robust and melodic
rendering of Escamillo is spot-on."
- Riverfront Times
"Making his first appearance with Opera Theatre of St. Louis
since 2008 is Aleksey Bogdanov as Escamillo.
His solos are simply incredible. He vibrantly drenches
Escamillo in extreme bravado and joyful boastfulness..."
"He made the most of his big tune, the 'Toreador' song;
his distinctly Slavic vocal production will make him a natural
for the big Russian roles one day."
- Saint Louis Post-Dispatch
Don Giovanni at Washington National Opera
"Bogdanov as Don Giovanni was insistently defiant and commanding."
- The Washington Post
"Bogdanov especially - a fine actor and singer, brought to life everything
he did. He could have given lessons to some of his fellow cast members."
- Seen and Heard International
"Aleksey Bogdanov, an alumnus of WNO's Domingo-Cafritz
Young Artist Program, was the fresh-voiced, vivid Masetto."
- Opera News
"Aleksey Bogdanov proved himself a fine Mozartean."
- Opera Warhorses
Figaro in Le Nozze di Figaro at Washington National Opera
"Figaro and Count were nicely contrasted - the former sung with
distinctive color and affability by baritone Aleksey Bogdanov."
- The Washington Post
"Bogdanov stole the show with his voluminous vocals, comedic timing,
and ability to move - even roll around the stage while holding a note."
Escamillo in Carmen at The Glimmerglass Festival
"Aleksey Bogdanov, the delight of the evening, is a barrel-chested
baritone with an incredibly powerful voice...world-class vocal technique
and commanding stage presence. The audience showered him with a
lengthy ovation...Bogdanov was built for this role."
"The toreador was portrayed with assurance by Aleksey Bogdanov.
An imposing figure, Bogdanov exuded charisma. His "Toreador Song"
was clearly the hit of the evening."
- Ithaca Times
Doctor/Boilermaker in Heart of Darkness with Opera Parallèle
"Baritone Aleksey Bogdanov was a hearty, funny Boilermaker."
- San Francisco Classical Voice
"Bogdanov's low notes as Doctor and
Boilermaker were forceful yet humorous."
- Opera Tattler
Rigoletto with Nashville Opera
"...fresh from his appearance as Shchelkalov in Boris Godunov at the Met,
Ukrainian baritone Aleksey Bogdanov played an outstanding Rigoletto.
With a dark instrument, awash in luster and bluster, and a charming
presence in the Duke's court, Bogdanov's Rigoletto quickly becomes as
threatening and self-centered as Leoncavallo's Canio..."
- Music City Review, April 2022
Pasha Seid in Verdi's Il corsaro with Europa Galante
"The most impressive performance overall comes from
Aleksey Bogdanov as Corrado's mortal enemy Seid,
an interpretation full of character, suitably bullish,
with a touch of gravelly fierceness; indeed, he develops
some complexity as an emotionally vulnerable villain."
- George Hall, Opera Magazine, December 2021
Shchelkalov in Boris Godunov with The Metropolitan Opera
"Russian–American bass-baritone Aleksey Bogdanov
sounded marvelous and projected the implicit gravitas
of Shchelkalov’s haunting music in his company debut:
he is a major addition to the roster."
- David Shengold, Opera News, December 2021
Starbuck in Moby-Dick with Chicago Opera Theater
"Aleksey Bogdanov brought a huge baritone to the proceedings
in the role of Starbuck. In addition to imposing vocal muscle and
crystal-clear diction, the Ukrainian singer etched a compelling
portrait of the ship’s first mate—a Christian family man caught
between his sense of duty to the ship’s mission and obedience
to his increasingly unhinged captain."
- Chicago Classical Review
"Aleksey Bogdanov more than holds his own as Ahab’s
second-in-command Starbuck, with a stentorian baritone
and piercing intensity."
- Chicago Sun-Times
"Bogdanov sings with power and authority; as Ahab’s
second in command, his Starbuck is always an exciting
presence on stage. His simmering anger propels him to
thoughts of murder, in order to save the Pequod and its crew,
and certainly to save his own skin. And he sings with notable
tenderness when remembering his wife and child."
- Hyde Park Herald
"Providing the foil to Ahab’s insane fixation, Aleksey Bogdanov as
Starbuck was spectacular. Possessed of a booming, velvety smooth
bass-baritone voice which easily soared through heavy orchestration,
Bogdanov’s performance was powerful, committed, and nuanced.
Bogdanov has the kind of voice usually associated with villains,
such as Scarpia or Iago, yet his Starbuck was approachable and
- Buzz Center Stage
"The prize for boldest voice goes to Aleksey Bogdanov as first mate
Starbuck, whosecentral aria brings him to the brink of mutiny
and the first act to a fitting conclusion."
- Chicago Musical Theatre
"Baritone Aleksey Bogdanov was excellent as Starbuck,
the first mate with a conscience. He was a good guy in this opera;
but one senses Bogdanov would make a fine villain Scarpia, too."
- Chicago on the aisle
"As Starbuck, Aleksey Bogdanov steals the show, capturing the tragedy
of a man forced into a place he never thought he would go."
- Chicago Stage Standard
"Baritone Aleksey Bogdanov better conveyed the anguish
of Starbuck, a loyal sailor harboring mutinous,
murderous thoughts to save himself and his crew."
- Chicago Tribune
"Baritone Aleksey Bogdanov as his agonized first mate, Starbuck, delivers
some of the opera's most lyrical and memorable moments while debating
whether or not to kill him in a full-blown, old-fashioned first-act aria."
- Chicago Reader
"...baritone Aleksey Bogdanov does a fine job of balancing the
tension between challenging authority and submitting to it."
Sebastiano in Tiefland with Sarasota Opera