Opera Singers

"Ukraine can become a successful country and a major player on the political stage if we start heeding the voices of the people."

"Listen to anyone in the street and he’ll tell you what to do. Our people are wise."

"The international jury of the Festival and the Opera Competition in Szeged composed of: Raymond DUFFAUT – the chairman of the jury, Andrea Rost, Esther Lehoczky, Henry Little, Luca Targetti and Walter Kobéra decided that “The Emperor of Atlantis” by Viktor Ullmann, a performance directed by Beata Redo-Dobber with Tomasz Tokarczyk as a director of music, was the best of five performances presented between 6 and 14 October in Szeged. According to the jury’s verdict, Wassyl Slipak, playing the role of the Death (Der Tod) in “The Emperor of Atlantis” was awarded the prize for the best soloist. The verdict was announced during the official gala at the Theatre in Szeged on 15 October."

"One of the worst abominations of this filthy war is that the Russian world is losing its lumpen population, while Ukraine is forced to lose a whole cross-section of society. The «Russian World» is losing car wash cleaners. Ukraine is losing opera singers, journalists, IT specialists, businessmen… Russia is grinding up the Ukrainian gene pool. It is doing to Ukraine what it has done for centuries to itself. The surname of Slipak I have heard for the first time today, but the very fact of the loss of this life – for me this is a tragedy. Don’t ask for whom the bell tolls… This should be a separate item of charges during the Hague trial. Not just a crime against humanity. A crime against the human gene pool. Against the human race. Against culture. Against science. Against development. A crime against the planet. A crime against the future. «Irreparable damage to the future of mankind». That is how that paragraph should probably read. At such moments, I feel particularly sharp guilt for the fact that there is nothing I can do to stop this. There is no way I can affect this… I tried. I honestly did. But there are more of them. Millions. I’m sorry."

"Mr. Slipak was born in the western city of Lviv on Dec. 20, 1974. A musical prodigy as a child, he rose quickly to fame performing in France in the late 1990s. By 2011, he was at the top of his field, winning the prize for best male performer at the Armel Opera Competition and Festival in Szeged, Hungary, for his rendering of the Toreador Song from the opera Carmen.He adopted a traditional Ukrainian hairstyle, similar to a Mohawk, and served at various positions along the front line — a maze of trenches and minefields that surrounds separatist territory. Mr. Slipak, who had won fame in France for his renditions of the aria of Mephistopheles from the opera «Faust», adopted the nom de guerre Meph."

"Ukraine this year celebrated 25 years of independence, but it was real independence only after the Maidan, when a real state started to form. Here we have an example of a person who left his career to fight. New heroes of the new Ukraine are being born."

"Since Russia started its aggressive actions against Ukraine he quit his European career and returned to Ukraine (as a volunteer soldier) to defend his homeland. He died in the ranks of the nationalist group Right Sector at the frontline in the Donetsk region. His nom de guerre was Myth – a shortened version from Mephistopheles (the Faust opera). He was not a professional soldier, he was a singer…"

"Let's bow our heads, citizens. A great Ukrainian was killed today while defending our land and all of us... Wassyl Slipak, globally renowned opera singer, who had lived and worked in France for 19 years, in the Paris opera, but abandoned his career and returned to defend Ukraine when Russian aggression started, was killed at the front line near Donetsk as a Right Sector fighter. Volunteer soldier Wassyl Slipak is an example of a patriot citizen. Waasyl Slipak died as a soldier. Books will be written about him, streets named after him; concerts will be held for him, and students will be told about him in schools and conservatoires... Rest in peace, dear Meph, you laid your life for each of us, we will not forget your sacrifice for Ukraine. We will not be half-hearted."

"I am proud to be a brother of such a person. Now all I can is hope that Ukrainians will make right conclusions and will move on, as my brother wished they should have done."

"She never knew how bad she was."

"Critics have long wondered whether Coloratura Jenkins' art can be described as singing at all. But she will intrepidly attack any aria, scale its altitudes in great swoops and hoots, assaying its descending trills with the vigor of a maudlin cuckoo."

"Mrs. Jenkins could dream if she could not sing."

"People may say I can't sing, but no one can ever say I didn't sing."

"Herbert von Karajan always rolled out a magic carpet for us, the singers. With him, our musical work took on another dimension."

"La mort est dans l'adieu d'un ami veritable."

"Louis B Mayer created a situation that was just like a very big family, but with love and loyalty for everyone."

"I must be the oldest living child soprano."

"Yet, like so many of the D'Oyly Carte principals, he makes up in enthusiasm what he lacks in vocal prowess."

"I do not subscribe to the theory that when a popular member of the company leaves, it is the end of the world — that things will never be the same again. Of course they won't, for each artist leaves something of himself or herself in a role."

"From his entrance, in medias rape, Vytas Juozapaitis had a compelling presence as both seductive and dangerous Don Juan. He had a dash, swagger, a sense of humour, and a strong, lustrous voice. He's a good actor too. You believed both in the way he was driven by his carnality and in his self possession. In short, he embodied the music."

"This Don Giovanni had heat, passion and total commitment from everyone involved under dynamic, dramatic direction of conductor Metodi Matakiev. The Don was Lithuanian baritone Vytautas Juozapaitis, a highly physical, Douglas Fairbanks / Errol Flynn kind of Don. Tall, dark, quite handsome, a really sexy beast possessed of a bronze colored voice of power and some suavity, completely at ease on stage, and finally a Don who actually ENJOYS to the hilt the life of a promiscuous hedonist. He was close to irresistible."

"Vytas Juozapaitis is simply terrific as the Don; lean, agile, and the possessor of a Zorro-like sexiness, he seemed part old fashioned matinee idol, yet firmly rooted in the here and now a la Johnny Depp. Like the singer, the voice is attractive, lean and powerful. His seduction of Zerlina, smooth as silk. He had the audience in the palm of his hand."

"The greatest credit for the evening's success must be given to the rich-voiced Juozapaitis as Giovanni, and bass-baritone Stefano de Peppo as… Leporello."

"Lithuanian baritone Vytas Juozapaitis brings presence and a warm, strong voice to the title role. When we first see him, hair flying in mid-rape, he looks like Johnny Depp in Pirates of the Caribbean."

"The slim and agile baritone, Vytas Juozapaitis, portrayed the Don as a self centered nobleman. He sang with a pleasant voice, and unlike most interpreters of the role, he had no trouble tossing off the 'Champagne Aria' at top speed."

"Tuesday's cast was first rate, led by the remarkable Lithuanian baritone, Vytas Juozapaitis, in the title role."

"Young Lithuanian baritone Vytautas Juozapaitis was well cast as the suave serial seducer with his aristocratic good looks and deep voice. Most women would find him charismatic if not irresistible. From the first moments it became evident that this company, with attractive sets and costumes, is miles ahead of most touring troupes. Theatrically and musically gratifying were the other cast members, all with international experience."

"The performance of Mozart's Don Giovanni Tuesday night at the University of NH, Johnson Theatre, was absolutely stunning. Lithuanian baritone, Vytautas Juozapaitis, (Don Giovanni) not only had the necessary voice, but he played the boastfully lecherous rake to great fanfare."

"The Don's difficult role never seemed to tax Juozapaitis excellent dramatic voice. Throughout the opera listeners were charmed by his great expressive range as he moved with ease from comic exchanges with Leporello to tender love sings."

"What can I write about Vytautas Juozapaitis? Months ago, a singer with this same name gave one of the most Mozartean accounts of Don Giovanni I've ever experienced: a lean, yet warm sound, exciting and a little on the dangerous side - utterly (and wonderfully) self-absorbed. The man singing Giorgio Germont could not possibly have been this same artist. This was Verdi singing of the highest order - as if to the manor born. A molten, rich expressivity and attention to Verdian line that in its size, detail and musicality recalled the greats: Gorin, Merrill... you get the idea. The name may not trip off American tongues with ease... yet, but in an era often thought bereft of Verdian voices Juozapaitis is the real deal. Every moment of his Germont was filled passion and, like all of the cast members, every word of the Italian was naturally produced and understandable. Mama mia this man's got it!"

"With Vytautas Juozapaitis as a perfectly evil Don Giovanni, the Teatro Lirico d'Europa seduced an audience of about 850 at the Garde Arts Center Monday night. Juozapaitis, a singer with the Lithuanian National Opera, stood out as the despicable title character of this most famous of Mozart operas. He took over the stage with both his supple and strong voice as well as a stage presence that seemed so natural it was hard to look at him without thinking he was Don Giovanni."

"Lithuanian baritone Vytautas Juozapaitis, last year's devilish, dark-toned Don Giovanni, Teatro Lirico has a powerful singer with an impressive stage presence. Sparks flew because Vasileva and Juozapaitis created such emotional tension: she more nuanced than the usual submissive heroine, he more sympathetic than the stock villain."

"Last night's fierce-eyed Don Giovanni, sung by Vytautas Juozapaitis, was a lean and hungry predator (...) Mozart's dark comedy has been realised with grandeur."

"This accessible production [of Don Giovanni - ed.] concentrates on the comic delights of the piece and rests heavily on the roguish charms of Vytautas Juozapaitis in the title role. Indeed, he's so delightfully decadent, and so charismatic a performer, that the righteous indignation of those he has harmed makes them seem priggish in comparison."

"Baritone Vytautas Juozapaitis was perfectly full of himself as Don Giovanni. His hilarious interactions with sidekick Leporello, played by the animated bass-baritone Stefano de Peppo were the highlights of the show."

"Most noteworthy was Vytautas Juozapaitis in the title role. He nailed the role with his well projected baritone."

"The Mozart Festival Opera's production of Don Giovanni made the three hours fly. The miming between Stefano de Peppo and Vytautas Juozapaitis as Don Giovanni was great physical comedy that had the audience laughing out loud. Juozapaitis possessed the voice, swagger and stage presence to match and dominate Leporello, and his costumes are among the best I've seen. I think Mozart would have approved."

"Vytautas Juozapaitis' Don Giovanni filled the performance. The singer won the audience not only with his impeccable impersonation of the gallantly vicious philanderer, but also with his vocal rendition that didn't leave any of the listener's desires unfulfilled."

"Equally up to the task was baritone Vytautas Juozapaitis who's tortured characterization of Rigoletto was near flawless, strong and acted with intelligence and emotional depth. Mr. Juozapaitis has a full baritone that displays nice range and clarity, and coupled with the ease with which he commanded the stage, provided just the right measure of appeal that communicated to the audience the conflict and suppressed rage the character, no doubt, felt toward those who used and mocked him. Nicely done!"

"In the pivotal title role (Rigoletto - ed.), Vytautas Juozapaitis - fondly remembered for his marvelous performance of the title role in Mozart's "Don Giovanni" with the Lirico here in 2003 - sang with a dark, commanding, tragedy-tinged baritone that vividly conveyed the character's flawed humanity and despair. And he masterfully delivered the role's two big arias."

"Charismatic Lithuanian baritone Vytautas Juozapaitis was a spirited, energetic Don Giovanni who held the audience's rapt attention whenever he was on stage. He had an authoritative sound that could be romantically enticing in an attempt to seduce a lady, but could change instantly into a commanding tone when anyone attempted to thwart his will."

"Bad boys have long fascinated audiences as well as storytellers, whatever the medium. Such rebels, often without causes beyond self-gratification, have been at the center of much of contemporary popular culture. One of the paradigms for such dramatized morality tales is Mozart's magnificent "Don Giovanni," whose musical and theatrical turns evoked awe and laughter and terror from the more that 1,500 music fans who on Saturday night flocked to Lawrence's Lied Center for the Mozart Festival Opera production. The libertine is thoroughly disreputable. Nonetheless, we look on in fascination because of his devilish smile, dashing good looks, ready wit, and the audacity of his hyper-inflated ego. If you can imagine a young Jack Nicholson with mustache, cape and a flair for sword play, you've got it. Lithuanian baritone Vytautas Juozapaitis gave the Don appropriate swagger and voice. He also brought a comic twist that gave the roué a touch of the trickster. Stepping out of character for a second in the midst of a briskly paced recitative, he paused, turned, and looked up at the supertitled English translation as if to check his lines. It was a joke shared by all. The pleasure of performing, even in the opera's most dramatic moments, was evident."

"In the days when we went gypsying A long time ago; The lads and lassies in their best Were drest from top to toe."

"During my first year on the stage at Brünn [1896/97] I conceived the idea of a pilgrimage to Bayreuth, in order to hear and to see the wonders of Wagner's works at the spot dedicated to his memory. I was successful in my application to the management of the Festival for a free pass for the cycle - four nights of The Ring of the Nibelungen and Parzifal, on condition that I sang at an audition held in Bayreuth by Frau Cosima Wagner, who took every opportunity of seeking new talent. [...]"

"After America had entered the war in December 1941 all postal service with Germany and Austria was stopped. But Papa had faithfully kept on writing to me, a ten-page letter nearly every week. They were never mailed and I found them, neatly bundled, sealed and addressed to me. … And now, on the plane, winging back home, I began to read his letters. They are remarkable documents. It's the whole war, as seen from the other side, through the eyes of a man who detested the fascist system, who hated the Nazis with a white fury. In the midst of the astonishing German victories in the early part of the war he was firmly convinced that Hitler MUST and WOULD lose. He dreaded communism, and all his predictions have come true. He told of all the spying that went on, the denunciations to the Gestapo, the sudden disappearances of innocent people, of the daily new edicts and restrictions, of confiscations that were nothing but robberies, arrests, and executions; how every crime committed was draped in the mantilla of legality. His great perception, intelligence, decency, his wonderful humanity, his love of music and above all his worshipful adoration for his Elsa — through every page they shimmered with luminescent radiance."

"Papa told her about a Lohengrin performance. It was just before his first entrance. He was ready to step into the boat, which, drawn by a swan, was to take him on-stage. Somehow the stagehand on the other side got his signals mixed, started pulling, and the swan left without Papa. He quietly turned around and said: "What time's the next swan?" That story has since become a classic in operatic lore."

"He was always helpful to me, supporting me in my very difficult moments as well, due also to a severe illness. He was very close to me, he was calling me quite often and giving me a lot of support and putting me in the right spirit."

"I always admired the God-given glory of his voice — that unmistakable special timbre from the bottom up to the very top of the tenor range. … I also loved his wonderful sense of humor."

"I had the pleasure of not only performing for him in tribute, but performing in his stead at the Grammy Awards in 1998, singing 'Nessun Dorma.' I had one magnificent and absolute and defining moment when he came to the stage to thank me for my performance. The world has lost one of the greatest voices of all time."

"Pavarotti made a profound contribution not only to music and the arts, but also to people in need around the world. His work for children — particularly those affected by armed conflict — stretched from Afghanistan to Liberia and beyond. By staging concerts and marshaling talented friends to help raise funds, he generated millions of dollars for humanitarian aid."