One of the most sought-after young basses in the operatic world.

A bass of elegance and unforced resonance.

One of the most exciting Russian singers to emerge on the international scene in the past decade.

He has been regarded for some time as one of the top opera singers in the world.

He has a beautiful voice, a velvet carpet of a voice… he sings intelligently. Furthermore, he’s a pleasing stage personality.

He sang soundly and seemed perfectly comfortable, and credible, as the World’s Sexiest Man — not something every young bass or bass-baritone can pull off: carelessly sexy in the robust Champagne aria, wistful and serious and quiet in the serenade ‘Deh, vieni alla finestra.’

The Bashkir bass-baritone Ildar Abdrazakov has taken a route to deserved international prominence almost unparalleled among singers from the former USSR. Still in is thirties, he has made his reputation singing the Italian and French repertoire with a distinction encompassing stylistic and linguistic acumen allied to a strong stage presence.

Mr. Abdrazakov has a sturdy, dark and rich voice that carries well. Yet it was the refinement and clarity of his singing, the Verdian accents, that made him so moving.

Abrazakov is without rival in this repertory today, bringing to it a complex and appealing personality.

Ildar Abdrazakov, Russia’s great bass, was magnificent.

Abdrazakov plumbed the cavernous depths of Verdi’s writing for low male voice; he was imposing in everything he sang.

As the servant Figaro, whose marriage is the subject of Beaumarchais’ comedy, the hunky Russian bass-baritone Ildar Abdrazakov boasted big, rich tone and nimble Italian diction for his patter numbers. He’s a natural stage animal too, achieving easy rapport with the audience when he called for them to “open their eyes” in his last act aria “Aprite un po’ quegli occhi.

He has a lush bass voice that won’t quit. The tone alone can seduce, especially when the singer files it down to a honeyed mezza voce.

Best of all, though, was the sensational bass, Ildar Abdrazakov, who has just about everything – imposing sound, beautiful legato, oodles of finesse.

The beauty of the voice, singing in its native language, is immediately and persistently striking.…the bass resonance is genuine and doesn’t disappear even in the softest phrases.

A sweet-toned, lyric sheen that is ideal for the bel canto repertoire, but he can summon up the rougher, darker timbre necessary for the nastier characters in the bass spectrum.

Whenever that soft-grained bass-baritone Ildar Abdrazakov muted his tone, it was easy to feel the shiver of death and the world’s sorrows cradled in his hands.

Making his role debut as Mefistofele, Ildar Abdrazakov, the bass-baritone from Bashkortostan, filled the house with a muscular, big, well-projected voice.…This is Opera with a capital O, well deserving of its standing-O reception.

Ildar Abdrazakov stole the show as Don Basilio, giving us a splendidly devious exposition of the virtues of slander in “La calunnia è un venticello.”