New York Times: Big ovation for “Nessun Dorma” in the Met

by Anthony Tommasini

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

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L´ape musicale: Tosca in Neapel “Dunque, dove eravamo rimasti?”

Luigi Raso

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 {…}

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Yusif Eyvazov dominated Friday’s Met premiere of Pikovaya Dama with a fearless, world-class portrayal

Christopher Corwin- Parterre Box

Yusif Eyvazov dominated Friday’s Met premiere of Pikovaya Dama with a fearless, world-class portrayal that instantly transformed the opera into December’s must-see event.

Hermann is never seen at ease: his scenes always portray him under duress and thus his vocal writing is extremely demanding calling for passionate declamation and ringing high notes. Happily, Eyvazov, whose previous Met appearances have been restricted to works by Puccini, demonstrated these qualities in, ahem,  {…}

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“Observer”: vocally demanding Hermann by Y. Eyvazov

James Jorden- Observer

Most impressive is tenor Yusif Eyvazov in the vocally demanding role of gambling addict Hermann. He demonstrated absolute security in the part’s heavy declamation and a smooth legato in the character’s love scenes with Lisa.

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Lime Light Magazine: The Queen of Spades (Metropolitan Opera)

by Clive Paget

The role is perfect for Eyvazov’s bright, edgy tenor, and thanks to Tchaikovsky’s lighter scoring, a sensitive conductor, and Moshinsky’s thoughtful blocking he is far more audible than he was in Turandot earlier in the season. In fact, this is far and away the best I’ve heard him sing, displaying sympathetic lyrical chops and an impassioned delivery. His plea to Lisa in the Act I bedroom scene (Prosti prelestnoe sozdanye) is meltingly delivered, the top notes gleaming throughout. He {…}

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