“…He has the power to carry this demanding role—often referred to as the “Otello of the Russian repertoire”—effortlessly from the first note to the last. With each scene, more and more colors shine through in his voice. It could be likened to the polishing of metal. As Hermann, Eyvazov doesn’t simply play the ace that could make him rich—he is the ace. He subtly portrays Hermann as a mysterious, introverted outsider, driven by an invisible force to wrest the secret of {…}

“…Yusif Eyvazov took on the roles of Calaf, Des Grieux, Rodolfo and Cavaradossi, an extraordinarily difficult task in which he exhibited his excellent fiato, good phrasing, control of dynamics – without fear of the most extroverted sound – and the necessary dramatism…”

September 8, 2024

…Eyvazov sang the difficult tenor role flawlessly, beginning with a resounding “Celeste Aida” and ending with the piani in the final duet in Act IV. Whether heroic attack, impressively smashed high notes, intonation security and musicality, Eyvazov is certainly one of the best interpreters today of this rightly feared spinto part.

Read more: https://onlinemerker.com/berlin-staatsoper-aida-erniedrigte-und-beleidigte-im-sterilen-erinnerungsraum-premiere/

Goerke and Eyvazov sang so well that I was swept up in Puccini’s music during their scenes…Eyvazov, an athletic-looking Calàf, had beefy sound and clarion top notes, getting a big ovation for his “Nessun dorma.”

Read more: The Met´s “Turandot”- Strongly sung, garishly staged

Yusif Eyvazov is Mario Cavaradossi with prized musicality, always attentive to phrasing, to nuance, that lightens a correct and safe emission;

Eyvazov is a stylistically flawless Cavaradossi, with a clean singing line, with elegant legato, perfectly in tune with his musical partner.

…You will immediately recognize the mastery of his vocal technique, his marked musicality and a refined melodic line, rich in interpretive insights, that undoubtedly make Eyvazov one of the most remarkable tenors {…}