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Anton Belov, baritone...

b i o g r a p h y...........back to roster....up January 2012 Since winning the Young Concert Artists International Auditions in 2002, baritone Anton Belov has expanded his career to reach major opera houses and concert halls across the United States. "Rich and mellifluous" described The New York Times his voice, and The Washington Post hailed his "voluminous sound, appealing stage presence and a tone of rich vibrancy that remained consistent at all dynamic levels," while The New York Sun was impressed with his "authority – technical, musical, dramatic – that was almost frightening." Opera News praised his "great emotional honesty; singing straight from the heart" and the Philadelphia Inquirer concludes that Belov "has the voice of an emerging star." In 2010/11, Belov returned to Boston Lyric Opera as Angelotti and as cover of Scarpia in Tosca, before singing Messiah with the New Bedford Symphony and Beethoven’s Symphony No. 9 with the Bozeman Symphony. Highlights of the 2009/10 season included the title role of Eugene Onegin with Anchorage Opera, Escamillo in Carmen at Amherst College and Rachmaninoff’s The Bells with Colorado Symphony. 2008/09 brought Belov’s return to the Anchorage Opera as Escamillo in Carmen before appearing in Shostakovich’s The Nose with Opera Boston, Rimsky-Korsakov’s Tsar’s Bride with Eve Queler’s Opera Orchestra of New York and portraying the title role in a staged production of Le nozze di Figaro with the Helena Symphony. He also performed Beethoven’s Symphony No. 9 with the Kalamazoo and Hartford symphonies and joined the annual Johnstown Symphony gala in a program of operatic arias. Engagements for 2007/08 included the Boston premiere of Oswaldo Golijov’s Ainadamar with Opera Boston, his portrayal of Count di Luna in Il trovatore with Anchorage Opera, excerpts from Gian Carlo Menotti’s Consul at Chicago Chamber Opera and Puccini’s Messa di Gloria with the Pioneer Valley Symphony. He also sang Messiah at Avery Fisher Hall with the Peniel Concert Choir and gave a recital under the auspices of New York Festival of Songs. Belov’s other operatic performances include the title role in Delaware Opera’s production of Don Giovanni, Masetto with Boston Baroque, John Sorel in The Consul (Menotti) with Opera Boston and Chamber Opera of Chicago, Count Almaviva in Le nozze di Figaro and Ping in Turandot with the New Jersey Opera Theater. Anton Belov is the first-place winner of eight vocal competitions including the George London Competition, Licia Albanese-Puccini Foundation International Competition, and the Metropolitan Opera National Council Auditions (Eastern Regional Winner) as well as the second-place winner of the Classical Singer Magazine Competition. As the winner of Young Concert Artists International Auditions, Belov has appeared in over 40 recitals throughout the United States. A native of Moscow, Anton Belov holds a Bachelor of Music Degree from The New England Conservatory, an Artist’s Diploma and a Master of Music Degree from The Juilliard School. A specialist in Russian lyric diction, he is the author of Russian Opera Libretti in Word-to-Word Translation and IPA Transcription and the Anthology of Russian Arias (Leyerle Publications 2004-06).   click here to read Anton Belov's resume/repertoire (MS Word) b i o....r e s u m e....r e v i e w s back to roster...up . . . .

r e v i e w s...........back to roster....up (As Toreador in Carmen) “The best performance came from Anton Belov as Escamillo. With a strong voice and instinctual command of a scene that is both graceful and forceful, he raised the energy level whenever he was onstage.” - Anchorage Daily News (Dunham) (Menotti—The Consul) Anton Belov, as John Sorel, gave a performance of great emotional honesty; singing straight from the heart, Belov poured forth the frustration and urgency of someone fighting for something much more than his own survival. - Opera News (Chin) (The New York Festival of Song) Anton Belov, a baritone with a rich, mellifluous voice. . . The highlight of the evening was Mr. Belov’s powerful renditions of “Trepak” from Mussorgsky’s “Songs and Dances of Death” and the title character’s aria from Rachmaninoff’s “Aleko.” In “Nochen’ka,” a melancholy folk melody, Mr. Belov sounded particularly fine, singing with urgency and soulful pathos. - The New York Times (Schweitzer) (Kennedy Center Debut) “A voluminous sound, appealing stage presence and a tone of rich vibrancy that remained consistent at all dynamic levels.” - The Washington Post (Rachmaninoff—Francesca da Rimini, The Bells) -“a fine baritone in Anton Belov” -The New York Times (Holland) (Rachmaninoff—Francesca da Rimini, The Bells) “Baritone Anton Belov in both works sang with an authority - technical, musical, dramatic - that was almost frightening.” -The New York Sun (Nordlinger) “Deluxe casting of Anton Belov” -The New York Times (Midgette) (La Cenerentola) - “Anton Belov makes a smooth Dandini” -The New York Times (Holland) (As Conte di Luna in Il trovatore)—“Anton Belov’s firm yet flexible baritone gave the bad guy, di Luna, a believable humanity. It’s a big, gorgeous instrument, beguiling in solo scenes, comfortably blending in ensembles.” - The Anchorage Daily News (Dunham) (As Ping in Turandot) – “Anton Belov's fine baritone was impressive for the evenness of its registers; he launched Ping's "Ho un' casa nell'Honan" with the subtlety of a Lieder singer.” - Opera News (Shengold) (The Songs and Dances of Death) "Using a bright, rich baritone, Belov kept the goosebump factor high." - Boston Globe (Larson) (As John Sorel in The Consul) “Anton Belov's ringing baritone served the role of Magda's freedom-fighting husband well. . .” - Boston Globe (Dyer) (As Count in Le nozze di Figaro) “Anton Belov tapped into his humanity in ways that few do and has the voice of an emerging star.” - The Philadelphia Inquirer (Stearns) (Solo Recital) “His voice, has a pleasant sound and the ability to cover several distinct shadings, from tender simplicity to bold, but his great gift is charisma. Almost no one can be impervious to the charm.” - The Philadelphia Inquirer (As Malatesta in Don Pasquale) ”Mr. Belov has a smooth baritone voice that fit perfectly with the part. As with others in this fine production, Mr. Belov was naturally animated and displayed good stage presence and acting talent as well as solid vocal ability which he utilized most effectively, especially when on stage with the Don.” - OperaOnline.US (Savonarola in Enrico Garzilli’s Michelangelo—World Premiere) As for the cast, a booming Anton Belov, donning a black robe, is terrific as the evil Savonarola, sounding like the kind of commanding, charismatic figure that can whip up a crowd. -The Providence Journal (Gray) “Belov’s emotional engagement with the text was immediately apparent. (In Schumann’s Dichterliebe) Belov’s treatment ranged from an expressive warmth in “The Rose” or “On a Shining Summer Morning,” to the darker ironies of “I Bear No Grudge.” In “In the Rhine,” Belov magically transformed his initial, deeply resonant, stentorian tone into gentle portrayal of the beloved one.” - The Buffalo News (As Don Giovanni) “Baritone Anton Belov in the title role was superb. His strong voice, musicality and good acting skills were evident all night. Oh yes, this "emerging" star has a fistful of first prizes behind him in several competitions, as well as first place in the 2002 Metropolitan Opera National Council Auditions for the Eastern Region.” - Asbury Park Press “As Count Almaviva, Russian baritone Anton Belov cuts a deliciously foppish figure. Belov has a way through the resonance and timbre of his voice, suggesting Almaviva’s aristocratic pomposity, without making him thoroughly reprehensible. His folly becomes our folly.” - The Valley News (As Ping in Turandot) The ministers Anton Belov (Ping), Jonathan Green (Pang) and Joel Sorensen (Pong) sang suavely. Belov's attractive baritone sounded impressive. - Courier Post (Soloist with California Symphony in the world premier of “Discovery” by Kevin Beavers) Anton Belov, a Russian-born, now American baritone sang with somber intensity and depth. He has a keen dramatic sense. - San Francisco Classical Voice (Commanday) (In Bach’s Cantata Ich habe genug)“...a mellifluous tonal palate. Belov flowed easily through the baritone range, sometimes harmonizing with the embedded oboe concerto movement as if it was another singing voice. His scale passages were subtly modulated, never even hinting at the dreaded “singing while driving down a bumpy road.” - The New Haven Register (Soloist in Carmina Burana) “Anton Belov was always expressive, had good attack when needed, and demonstrated a broad vocal range.” - Reno Gazette Journal (Soloist in Carmina Burana) “...the powerful young Russian born baritone Anton Belov... Mr. Belov copes manfully with the cruelly wide-ranging baritone lines and comes off, his gorgeous dark baritone thoroughly intact at all moments, with a divinely shaped take on Orff’s lavish music.” - Reno Online Music Review (O’Neal) b i o....r e s u m e....r e v i e w s back to roster...up . . . .