Since his debut in the 2006 Russian premiere of Delius’ Eine Messe des Lebens with the Russian National Philharmonic Orchestra conducted by Vladimir Spivakov, Igor Golovatenko has been quickly making a name for himself on both the concert and operatic stage.
Since his debut in the 2006 Russian premiere of Delius’ Eine Messe des Lebens with the Russian National Philharmonic Orchestra conducted by Vladimir Spivakov, Igor Golovatenko has quickly made a name for himself on both the concert and operatic stage. Having studied at the Moscow Academy of the Choral Arts with Professor Dmitry Vdovin, Golovatenko is a first prize winner of the St Petersburg Three Centuries of Classical Romance international piano-vocal duets competition (2008) and a second prize winner in Dresden’s International Competizione dell’Opera (2011).
Golovatenko has been a guest soloist at the Bolshoi Theatre of Moscow since 2010 and a soloist with the Novaya Opera since 2007, where his roles have included Belcore L’Elisir d’Amore; Germont La traviata in the premiere of Francesca Zambello’s 2012 Bolshoi production conducted by Laurent Campellone; Figaro Il barbiere di Siviglia directed by Elijah Moshinsky; Olivier Capriccio; Robert Iolanta; and the title role of Eugene Onegin.
Further highlights include a debut performance at the Opéra National de Paris as Lopakhin in Philippe Fénelon’s La Cerisaie conducted by Tito Ceccherini and directed by Georges Lavaudant, having already sung the role to critical acclaim in the world premiere at the Bolshoi Theatre. Golovatenko also debuted at the Teatro Massimo, Palermo, as Shchelkalov and Rangoni Boris Godunov (with Ferruccio Furlanetto as Boris and directed by Hugo De Ana) and at the San Carlo Theatre, Naples, as Monfort Les Vêpres siciliennes directed by Gianluigi Gelmetti.
Equally at ease on the concert platform, Golovatenko has appeared with the Yaroslavl Symphony Orchestra in performances of Rachmaninov’s The Bells conducted by Murad Annamamedov, and with the Russian National Orchestra in Grieg’s Peer Gynt conducted by Mikhail Pletnev. He has also appeared with the Goettingen Symphony Orchestra in concert performances of La traviata conducted by Christoph-Mathias Mueller and, more recently, with the Russian National Orchestra and Moscow State Chamber Choir in concert performances of Eugene Onegin conducted by Mikhail Pletnev at the Tchaikovsky Concert Hall. In addition, Golovatenko regularly performs at the Russian National Orchestra Festival.
Recent performances have included Seid Il corsaro at the Teatro Verdi Trieste; Rigoletto at the Opera Giocosa di Savona directed by Rolando Panerai; Conte di Luna Il trovatore and Amonasro Aida at the Novaya Opera, Moscow. Golovatenko made his debut at Bayerische Staatsoper as Shchelkalov Boris Godunov conducted by Kent Nagano and directed by Calixto Bieito.
In the 2013-14 season, Golovatenko performs the role of Carl Gustav in Foroni’s Christina regina di Svezia at the Wexford Opera Festival; Renato Un ballo in maschera at the Teatro Sociale di Rovigo and Opera Giocosa di Savona as part of the Bergamo Music Festival; and debuts in the role of Rodrigo Don Carlo at the Bolshoi Theatre of Moscow directed by Adrian Noble and conducted by Vassily Sinaisky.
Igor Golovatenko is represented at Simon Goldstone by Intermusica.
November 2013 / 458 words. Not to be altered without permission. Please destroy all previous biographical material.
Cristina, regina di Svezia / Wexford Opera Festival
Dir.Stephen Medcalf, Con. Andrew Greenwood
“But the wonder among this male-dominated production was Russian baritone Igor Golovatenko… as the queen’s cousin and nominated eventual successor, Carl Gustav. I would travel Europe to hear this voice and see this massive onstage presence. Bolshoi – and indeed Paris – star he may be, but the Royal Opera and the Met should move mountains to get this man on board. Golovatenko was the big sensation of this year’s Wexford – and his noble-cum-scary characterisation was as riveting as the voice.”
Roderic Dunnett, The Arts Desk, November 2013
“The smooth, burnished singing of Igor Golovatenko (Gustavo) signals a new talent…”
John Allison, Daily Telegraph, November 2013
“Russian baritone, Igor Golovatenko was a strong Gustavo, resonantly exhibiting his love and loyalty for his Queen.”
Opera Today, November 2013
“Russian Igor Golovatenko was – easily – the best of a series of outstanding baritones or bass-baritones at this year’s Wexford…”
Roderic Dunnett, Seen and Heard International, November 2013
“Carlo Gustavo (a superb Igor Golovatenko)…”
Charles Jernigan, Donizetti Society, October 2013
“The two most demanding roles, mastered by Igor Golovatenko and Helen Dix, were the absolute highlights of the festival. Golovatenko equips Carlo Gustavo with a varied baritone, alternating easily between the enormous depths of this role and the dramatic outbursts. A musical highlight is surely his aria in the second act, when he meets with the conspirators on the desert island, in order to crush the rebellion against his beloved Cristina.”
[“Die beiden wohl anspruchsvollsten Partien meistern Igor Golovatenko und Helen Dix auf absolutem Festspiel-Niveau. Golovatenko stattet Carlo Gustavo mit einem absolut variablen Bariton aus, der problemlos zwischen den enormen Tiefen dieser Partie und den dramatischen Ausbrüchen changiert. Einen musikalischen Höhepunkt stellt sicherlich seine Auftrittsarie im zweiten Akt dar, wenn er sich mit den Verschwörern auf der einsamen Insel trifft, um so die Rebellion gegen seine geliebte Cristina zu zerschlagen.”]
Thomas Molke, Online Musik Magazin, October 2013
“the two baritone parts are vigorously sung by David Stout and Igor Golovatenko”
Andrew Clark, Financial Times, October 2013
“...but the festival's true star, alongside Dix, is Russian Igor Golovatenko (Cristina's heir, Carl Gustav): a baritone of marvellous strength, imposing range and magnificent authority. Superlative casting - such as Wexford excels at.”
Irish Independent, November 2013
Germont in Verdi La traviata / Bolshoi Theatre
cond. Laurent Campellone / dir. Francesca Zambello
“The role of Giorgio Germont was beautifully sung, in true Verdian style, and played with conviction by Igor Golovatenko”.
Raymond Stults, Moscow Times, November 2012