Kolgatin, Pavel - Tenor

 

The Prince Don Ramiro by Pavel Kolgatin is excellent: ringing and clear voice, able to rise high while maintaining a uniform color, soft phrasing, very natural, elegant and impeccable, phisique du rôle, which never hurts, and a convincing theatrical interpretation, awkward or altered as needed, make it one of the strengths of the staging.

 

 

 

Pavel Kolgatin, a Tamino in a tartan skirt, with a heroic, but also lyrical tenor…

 

The solos of the premiere cast are of the highest level: «..Pavel Kolgatin’s tenor flows brilliantly.

 

Pavel Kolgatin (in a kilt) sang Tamino with a beautiful voice.

 

 

 

For the Russian super-lyrical tenor Pavel Kolgatin, who appeared as Count Almaviva on the evening under discussion, this most fertile part is one of the basic components of the repertoire, and in it, as a true perfectionist, he was able to impress with the highest level of musical and stylistic culture. But getting an applause after the first aria of Almaviva is always problematic, because this difficult number is not among the hits, and the public, having not really “warmed up”, with great impatience always waits for the textbook aria of Figaro after it. And yet this time the singer managed to break the applause! Noble-sensual vocal message and excited passion, captivating sincerity of reincarnation and artistic aristocracy of the performer easily showed through the whole part - both in the subsequent lyrical serenade and in numerous vocal-playing ensemble episodes. So, this role of the singer with good reason can be called the crown!

 

 

…sang a very successful Sento da mille furie in the second act, an aria where he could display coloratura, legato, very high notes, in a great performance.

 

The most engaging passage, however, is beyond this scene, when after the highly acclaimed duet between Ernestina and Buralicchio, the curtain closes. On the stage there is only Ermanno, Kolgatin, who gives the public, like a diamond among many more-or-less precious stones, his aria Sento da Mille Furie.

 

The tenor Pavel Kolgatin (…) is heroic and furious in the second act aria and in the scene in prison, with a fluid voice and rich colors.

 

A delicious Ermanno (the heartbroken tutor) from Pavel Kolgatin…

 

...the part of Ermanno was perfect! His amazingly beautiful lyrical tenor just found his part, conquering everybody with the feeling, the technique, and the highest singing culture!

 

 

Pavel Kolgatin was an impressive Italian Tenor with plenty of humor and energetic characterization. The mock Metastasio heroic Addio duet sung in gondolas moved around the stage by hefty stage-hands was a delicious parody of verismo excess with both vocalists trying to out-sing and upstage each other at every opportunity.

 

 

…gut sitzende, sehr bewegliche, höhensichere Stimme, die dem kammermusikalischen Aspekt der Lieder bestens gerecht wurde. Er bediente mit Verdis “Ad una stella”, “Deh, pietoso, oh Adolorata” oder Bellinis “Ma rendi pur contento” in großen dynamischen Bögen die starke emotionalen Wendungen nach außen.

 

 

Nicht zu vergessen auch Pavel Kolgatin in der Rolle des Gottesnarren, der am Ende der vorletzten Szene in der Urfassung der Oper das kommende Leid Russlands mit sehr gut geführtem Tenor und vielleicht fast schon zu schön beschwor.

 

 

Conte Almaviva ist bei Pavel Kolgatin in sicherer Kehle. Auch spielt der junge Russe, der schon sehr international, speziell in Italien, unterwegs ist, sehr gut.

 

 

Maybe the highlight of the evening was 27-year old tenor Pavel Kolgatin in the role of Elvino. What a lovely lyric tenor voice! But also, his physical appearance was really nice and the female part of the audience surely would have loved to be his beloved. He gave a really great performance with clear and tasteful singing.

 

The Russian is an Italian tenor par excellence, meaty, bright strong, always present and confident.

 

He grasped the audience from the first minute with his warm and incredibly clear timbre. Despite his young age, Kolgatin has a very prominent and diverse voice, and it is especially the piano passages in which the tenor demonstrated his variety of timbres.

 

 

Die für mich ergreifendste Szene war die zwischen dem Boris und dem Gottesnarren, der von Pavel Kolgatin einfach großartig gesungen und besonders gespielt wurde. Ein vom Schicksal
gebeutelter, der zum Opfer der „Maltchiki (kleinen Buben)“ wurde – und als einziger den Mut hat, dem Zaren das ins Gesicht zu sagen, was andere nur hinter dessen Rücken munkeln. Kolgatin war für mich die Entdeckung des Abends.