“…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 {…}
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, {…}