As Siegmund, Avgust Amonov demonstrated the full richness of his lyrical and dramatic tenor voice. Light and velvety colours of his voice in combination with his impulsive performing style...
Tenor Avgust Amonov performed the role of the descendant of the Inca King, and he gave the public a dazzling display of his typically brilliant mastery of the upper register and indefatigable freedom in high tessitura.
• Prize-winner at the XIX International Glinka Vocalists' Competition (Chelyabinsk, 2001)
• Prize-winner of the Irina Arkhipova Foundation (Moscow, 2004)
Avgust Amonov was born in Kazan. Graduated from the Alma-Ata State Conservatoire in 1997 (class of Professor Serkebaev).
He joined the Kazakh Abai Academic Theatre of Opera and Ballet in 1995, the Helikon Opera musical theatre (Moscow) in 1998 and the Stanislavsky and Nemirovich-Danchenko Musical Theatre in 1999. Avgust Amonov made his Bolshoi Theatre debut in 2001 in the roles of Vaudémont (Iolanta) and Alvaro (La forza del destino).
Avgust Amonov became a Mariinsky Theatre soloist in 2003 (making his debut as Prince Yuri in The Enchantress).
Repertoire at the Mariinsky Theatre includes:
Sobinin (A Life for the Tsar)
Finn (Ruslan and Lyudmila)
Vasily Golitzin (Khovanshchina)
Vsevolod (The legend of the Invisible City of Kitezh and the Maiden Fevronia)
Yuri (The Enchantress)
Herman (The Queen of Spades)
Nose (The Nose)
Pierre Bezukhov (War and Peace)
Nozdryov (Dead Souls, in concert)
Mitya (The Brothers Karamazov)
Riccardo (Un ballo in maschera)
Manrico (Il trovatore)
Arrigo (I vespri siciliani)
Don Carlo (Don Carlo)
Don Alvaro (La forza del destino)
Gabriele Adorno (Simon Boccanegra)
Luigi (Il tabarro)
Benvenuto Cellini (Benvenuto Cellini in concert)
Samson (Samson et Dalila)
Siegmund (Die Walküre)
Bacchus (Ariadne auf Naxos)
The Emperor (Die Frau ohne Schatten)
and the Prince (Dvořák’s Rusalka).
Avgust Amonov's repertoire also includes the roles of Lensky (Eugene Onegin), Andrei (Mazepa), Paolo (Francesca da Rimini in concert), Lykov (The Tsar's Bride), Young Gypsy (Aleko), Antonio, Father Yelustaf (Betrothal in a Monastery), Pierre Bezukhov (War and Peace), Edgardo (Lucia di Lammermoor), Alfredo (La traviata), Pinkerton (Madama Butterfly), Calaf (Turandot), Andrea Chénier (Andrea Chénier), Faust (Faust), Siegmund (Die Walküre) and Alfred (Die Fledermaus) as well as the tenor parts in Verdi's Requiem, Mahler's Eighth Symphony, Beethoven's Ninth Symphony, Dubois' Requiem and Rossini's Messa di Gloria.
Avgust Amonov has worked alongside such outstanding conductors as Gennady Rozhdestvensky, Yuri Temirkanov, Nikolai Nekrasov, Vladimir Fedoseyev, Arnold Katz, Mark Ermler, Tomáš Hanus and Fuat Mansurov.
He has toured to China, Korea, Canada, Germany, the Netherlands (Concertgebouw, Amsterdam), Finland (Mikkeli Festival), Denmark, Australia, the UK (Albert Hall, Barbican Hall and the Coliseum), Croatia (Zagreb Opera), Japan (Suntory hall), France (Opéra Bastille) and Cyprus (Pafos Festival).
The singer has toured to the Netherlands (the Concertgebouw, Amsterdam, Berlioz’ Benvenuto Cellini), France (Opéra Bastille, Paris, Shostakovich’s The Nose), Great Britain (the Royal Albert Hall, Rimsky-Korsakov’s Mlada; English National Opera, Shostakovich’s The Nose; Royal Opera House, Covent Garden, Wagner’s Die Walküre; Birmingham, Wagner’s Parsifal and Verdi’s La forza del destino; Edinburgh, Richard Strauss’ Die Frau ohne Schatten and the Barbican Centre, Prokofiev’s Seven, They Were Seven and Smelkov’s The Brothers Karamazov), Spain (Madrid’s Filarmónica, Tchaikovsky’s Iolanta and the Teatro Escorial, Puccini’s Tosca), Macedonia (the Skopje Festival, Verdi’s Aida), Croatia (Zagreb, Verdi’s Un ballo in maschera), Greece (Megaron, Kalomiris’ Protomastoras and Athens, Verdi’s Aida), Cyprus (the Pafos Festival, Verdi’s Un ballo in maschera), Israel (the Eilat Festival, Verdi’s Nabucco and Berlioz’ Benvenuto Cellini), Bulgaria (Sofia, Rachmaninoff’s Aleko and Verdi’s Un ballo in maschera), Latvia (Riga, Verdi’s Aida and Puccini’s Turandot), Lithuania (Vilnius, Verdi’s Otello, directed by Eimuntas Nekrošius), Slovenia (Ljubljana, Verdi’s Otello and Richard Strauss’ Die Frau ohne Schatten), Austria (Graz, Tchaikovsky’s The Queen of Spades, directed by Peter Konwitschny), Finland (the Mikkeli Festival, Saint-Saëns’ Samson et Dalila, Glinka’s A Life for the Tsar; the Savonlinna Festival, Puccini’s Tosca; Helsinki, Verdi’s Aida and Un ballo in maschera and Dvořák’s Rusalka) and the USA (New York, Metropolitan Opera, a debut in Verdi’s Otello; Carnegie Hall, Mahler’s Eighth Symphony; Colorado, Verdi’s Il trovatore and Dvořák’s Rusalka; Minnesota, Verdi’s Il trovatore; Washington, Verdi’s Otello and Kentucky, Tchaikovsky’s Iolanta) as well as to China, South Korea, Canada, Denmark, Germany and Australia.