A world-famous opera singer (bass-baritone), who has won the love of the public thanks to his unique vocal abilities, voice power, artistry, and wide musical palette.
Denis Sedov's repertoire includes classical opera, folk songs, romances, bossa nova, samba.

​What is especially admirable is that the artist sings in eight languages.

​Denis Sedov was born in St. Petersburg. At the age of 6, having seen a documentary about the school of singers at the chapel: “Leningrad Nightingales,” he told his mother that he wanted to study there.

​Eleven years later, Denis graduated with honors from the Choir School named after. M. I. Glinka at the State Academic Chapel in the class of choral conducting.

​At the age of 17, I went to enroll in the conducting department at the Jerusalem Academy of Music and Dance. Rubin, but... accidentally missed the exam because incorrect information about the date of the competition was published. In order not to lose a whole year of study, Denis decided to enroll in the vocal department there (since childhood he sang in the choir, and by that time he had already begun to study solo singing, he knew two arias, with which he entered) with the hope of transferring to the conducting department in a year ... But this was not destined to happen, because the young singer was noticed and immediately began to be offered work.

Already at the age of 19, his first professional performance took place at a festival in Ludwigsburg (Germany), where Denis sang a concert of modern music with an orchestra.

​Denis is one of the few singers of non-American origin invited to participate in the prestigious E. Lindemann Young Artist Development Program at the Metropolitan Opera (New York), where he trained for 2 years with such opera legends as Renata Scotto, Louis Quilico, Regine Crispen, Carlo Bergonzi.

At the age of 22, at the invitation of Gian Carlo Menotti himself (Italian composer, friend of Benjamin Britten), he went to perform at his first summer festival in Spoleto (Italy) and a year later recorded the first record of Handel’s Ariodante with Anne-Sophie von Otter on Deutsche Grammophon ".

​At the age of 22, he also sang his debut role at the Metropolitan Opera in Umberto Giordano's Fedora, opposite Placido Domingo and Mirella Freni.

​One of the brightest stages in the singer’s career was his performance at the opening ceremony of the XVIII Winter Olympic Games in Nagano (Japan). Then Beethoven’s “Symphony No. 9” performed by the 24-year-old bass Sedov was heard by a huge audience of a billion people.

​Now the singer has more than 50 opera roles and 20 years of solo career, sold-out houses in forty countries: Denis Sedov was applauded by La Scala in Milan, the Paris Grand Opera, London's Royal Opera Covent Garden, New York's Metropolitan Opera, theaters in San Francisco , Barcelona, ​​Buenos Aires, Rio de Janeiro, Santiago, Tel Aviv, Japan and China. And this is not the entire list. Denis Sedov has performed with almost all the major opera companies in the USA and Europe.

​Denis Sedov sang with such stars as Placido Domingo, Yo-Yo Ma, Pierre Boulez, Riccardo Muti, Nikolai Gyaurov, James Levine, Kurt Masur, Seiji Ozawa, Nani Bregvadze. The singer immediately collaborated with such famous record labels as: Deutsche Grammophon, Telarc, Naxos.

​Denis Sedov conducts extensive touring activities not only abroad. Russian listeners in about eighty cities from Moscow and St. Petersburg to Murmansk and Vorkuta, from Tyumen and Kazan to Irkutsk, Chita, Vladivostok and Sakhalin were able to hear the singer’s voice on the stages of their philharmonic societies and opera houses.

The singer plans to work in several original projects at once. First of all, a unique show program “Around the World with a Balalaika” with the BisQuit ensemble, as well as a program of Brazilian popular music - bossa nova and samba - “White Bossa Project” in a chamber composition. The artist, who speaks eight languages, authentically conveys the mood of songs from all over the world.

Artist's official website:

February 2015

Bass in the theater, in life and in church

In February, at the Chaliapin Festival at the Philharmonic, you will be able to hear Denis Sedov sing, a singer endowed by nature with a deep, very powerful voice and an equally bright personality. He knows how to be very different. When you hear Russian folk songs performed by him, it seems that he is singing as a natural singer, but deeply feeling Russian music to his very core. The baroque aria in his performance sounds easy, masterly, absolutely European. Then it turns out that his repertoire also includes rock music and bossa nova, and that he really loves Russian spiritual chants.

— You have a very wide range of interests - you are an opera singer, but you also perform pop music and are fond of Latin American styles. These are completely different styles of singing - don’t they interfere with each other?
— Singing is the most harmonious form of performance. These are vibrations that are born inside a person; There is no barrier between the singer and the listener in the form of an instrument. In this sense, there are no different styles of singing, there are different individuals. The manner may be correct or incorrect, the voice may be correct or not. If an artist has perfect command of his voice, then he will be able to perform any genre, like Magomayev, for example.

— Bass is not such a “star” role as tenor. Did your passion for popular genres arise from a desire to be closer to the public? Or is it purely musical interest?
— A tenor is a very specific creature, and I am very glad that I am not a tenor. Being a bass character suits my character very well (although, perhaps, it is the voice that develops this or that character in a singer). A high, piercing soprano can make a singer unbearable, and singing loud high notes in a tenor causes a rush of blood to the brain, he sees circles before his eyes, and gets lost in music and in life. Velvety baritones look amorously at themselves in the mirror, listening to their magical timbre, and the basses come from fishing to the theater and, having cleared their throats backstage a couple of times, come out to sing the parts of kings and devils.

— If an instrumentalist can improve throughout his life, then the voice is given by nature. He either exists or he doesn’t. What is the professional development of a singer? Are there goals that are not yet available to you, but that you would like to achieve?
— To become a successful opera singer and make an international career, today it is not enough to have a voice. It is important to be an educated musician, be able to communicate with different people, have an excellent memory, and speak several languages. You will also have to expose your health to the stress of many hours of flights and acclimatization, and do all this to the detriment of your family and children, whom you may not be able to see often because of the tour.

The most important factor is to constantly stay in shape through classes with a vocal teacher (even after 20 years of career), classes with a tutor to help you learn new parts, and simply working at home.

A singer, like any other professional musician, develops throughout his life, even to some extent more than others, since over the years his instrument becomes stronger and grows in volume, which cannot be said about clarinetists or pianists. The singer's repertoire is also related to the strength and volume of the voice. My goals are related specifically to expanding my repertoire.

I don't have access to magic, but if I were a wizard, I would make sure that non-singing people never give singing advice to singers. Neither in singing, nor in diet, nor in the method of treating sore throat.

— What is your very first vivid impression of music?
— When I was in kindergarten near Pushkin, I fell ill with a sore throat and missed many rehearsals of the musical festival, which was being prepared for February 23 and March 8. When I came to kindergarten after illness, the teacher did not allow me to perform with other children. I was very worried. But then the nanny gave me spoons out of pity, and I performed a virtuoso solo on them, showing an extraordinary sense of rhythm. After that, I was allowed to play in the mini-orchestra of the senior group, and I turned out to be a very necessary link, since I was good at the first beat, which the orchestra could not do. For this they gave me the song “Don’t be afraid, Mom, I’m with you” to sing. I came forward and sang all two verses about an armored personnel carrier and something else... I remember my young parents in the audience at the concert. This was my first music.

— What is the most difficult thing in the profession and the most difficult thing in life?
— The most difficult thing in the profession is to constantly prove your ability to work, to constantly be collected. And for “free artists” like me, it’s a search for work and the unknown of tomorrow. You get used to it, but it always lives in your mind. Our life is our profession, our roles, suffered and endured with great difficulty.

— What would you do if you weren’t a musician?
— If not music, then probably architecture. I really like to draw houses, palaces and cathedrals.

— You left Russia quite early, and almost 20 years later you decided to return. What was the impetus for the first and second decisions?
— The impetus for leaving was the very opportunity to travel and study in the West. In the nineties there was a smell of freedom. I went and lived in four countries in 20 years and saw forty more. When there was nothing left to hold me there, I began to go on visits to St. Petersburg. I liked it, my friends persuaded me, and I returned - to the same street in the center where I grew up. Now I travel around the world from here.

— You perform sacred music at concerts, do you have a desire to sing in church during services? In Russian sacred music there is simply freedom for the bass...
— Thanks to my classmate Lev Dunaev, I came to . He is a regent, a wonderful musician and conductor. Lev told me about the services and invited me to sing. And now, when I come to St. Petersburg, I always sing the All-Night Vigil and Liturgy in St. Isaac’s Cathedral. They honor me and let me sing solo.

Spiritual singing is the most exciting thing for me. I grew up with this music as a musician and performed it a lot when we had the opportunity to reconnect with church services in the late 1980s. I really missed her in the West, and as soon as I returned, I began to make up for lost time. Returning to my dreams, one of the biggest is to record a disc of sacred music with a choir. I would like to do something special, bright, something that will help and calm, confirm faith and bring joy to those who hear this music.

—Have you sung in other churches?
- Yes, sure. My musical development took place precisely in church music. When I travel around the world, on holidays I always look for an Orthodox cathedral, I just come and ask where the regent is and if I can sing. At first, of course, they look at me very suspiciously about who I am. They ask if I know the voices, if I can sing. I answer that I have a low bass and usually sing as a second bass because I am an octavist. And after the service they always ask if I will come on Saturday and Sunday.

For example, on Easter I sang in Seattle in an Orthodox cathedral, and the priest gave me an icon with gratitude from the flock and clergy. That is, they treated my music playing very kindly. In many other cities I was also able to sing in churches - in Vancouver, in New York... Sometimes I was offered money for singing abroad, but I always refused. But more often than not, I don’t just come to church to sing. Here in St. Petersburg I always sing with my friends and colleagues who came to the Church in different ways.

— Do you remember the first time you came to the temple?
— I went with my grandmother to the building opposite which I was born. In my memory, it was always active. And I remember when they celebrated the 1000th anniversary of the Baptism of Russia in 1988 (and I lived on Glinka Street at that time), I saw a procession of the cross from my window for the first time.

“I think that music in the temple is a step to enlightenment, to holiness, to prayer. It is a help in immersing yourself in prayer. So that the world from which you came to the temple is left behind.”

— In big cities and cathedrals, it is customary for professional singers to sing at services. But there is also an opinion that too beautiful singing distracts from prayer. Do you think prayer and music can be combined?
- Yes, there is such an opinion. I won’t argue, but when I sing at bishop’s services, I notice that the highest church officials love precisely the beauty of sound, beautiful voices and stylish singing. Although it happened that I sang in unprofessional choirs, I still believe that the Lord gave me this voice and I serve them. That is, I don’t see what claims there could be against me. The Russian Orthodox Church and the singers in it are one inextricable whole. It is impossible to imagine that the Church would be without singers. I went to a service in Buenos Aires, where they sing without notes, using hooks. There are 2-3 Orthodox families who have lived in Argentina for many decades and sing with the whole family. It seemed so strange to me that they did not accept generally accepted voices, certain musical numbers known to everyone - for example, Bortnyansky’s “Cherubimskaya”. And when I came to this temple, it was the music that was missing. I think that music in the temple is a step to enlightenment, to holiness, to prayer. This is a help in immersing yourself in prayer. So that the world from which you came to the temple is left behind. Music immediately helps you immerse yourself in an elevated atmosphere.

— Do you agree that song culture in Russia has declined?
- Of course, you can’t make money with music, so no one is interested in it...

“Mothers don’t know how to sing lullabies, schools are reducing the number of music lessons, adults have stopped singing at the table...
- Well, I know people who still sing at the festive table. But about the general trend - I think that this is generally connected with the decline of the intelligentsia. Because when it is allowed a little, there is always a surge of culture in Russia, just like in the 19th century. Cultural figures of that time created the basis on which the art of the first half of the twentieth century was created. And with the disappearance of the intelligentsia as a social class in the Soviet Union, this culture may actually have declined. But in the situation we are in now, in which there is no way to make money from music, few people become musicians.

In fact, art is a calling. And the one who was called by God to do this, he will do it, no matter what. And he will teach his children to sing, just as I teach my son. And it turns out that today there are enough singers whose children sing and know the service, and continue to carry on both art and prayer.

7

“There is a wonderful Musical Theater in Saransk”

Opera bass Denis Sedov - “Capital C”

Opera singer Denis Sedov is rightly called a man of the world; he performed the main roles in the best theaters - Covent Garden, the Paris Opera and La Scala. On February 3, the famous vocalist took part in the “Parade of the Best Bass of Our Time” concert, which took place on the stage of the Musical Theater. Yaushev within the framework of the first world Chaliapin festival. The organizer is the Talents of the World Foundation. The artist told TATYANA MIKHAILOVA about the power of his voice and the most memorable concert of his life.

“This is my first time in Mordovia. Saransk has a wonderful Musical Theater,” Denis said during a break between rehearsals. - There are excellent acoustics here. Clean, beautiful. Comfortable dressing rooms..."

All opera singers carry a suitcase of medicine with them! After 20 years of classical singing with constant travel and changing climate zones, I have already understood how to treat a throat with a minimum of colds!

“S”: You are a supporter of singing without a microphone...

Opera performers study this for decades and then try to implement it on stage. A microphone is a barrier between the performer and the listener. The operatic genre was created for singing without technical devices, so that the staged voice would sound more powerful than the orchestra.

“S”: You sing very easily, without tension. What's behind this?

Many years of work on vocal technique and hard internal work. I'm glad if people perceive my singing without noticing it.

“S”: How did you find your calling?

As friends say, higher powers guide me through life! From early childhood I knew that I would be a singer. At the age of 6, I watched a documentary about the school of singers at the chapel “Leningrad Nightingales” and wanted to connect my life with music. The parental problem of where to send the child to study was immediately solved! The further fate was also determined by someone from above. I missed the exam for choral and symphonic conducting, so I entered the vocal department and never left this path. In the most difficult moments I knew: I am here to sing and through music to transmit some kind of energy to the audience.

“S”: Projects such as the “Parade of the Best Bass of Our Time” are capable of popularizing the art of opera?

Certainly. This is the purpose of our trips to the Russian outback. In two years I have traveled to 80 cities and see great interest everywhere. They wait for us and then write a sea of ​​letters of gratitude.

“S”: The concert is dedicated to the memory of Fyodor Chaliapin. Which works from the great singer’s repertoire do you like to sing the most?

Russian folk song “Hey, let’s whoop”, arranged by Chaliapin. This is my favorite! The nationality of this singer is indescribable. You need to hear his voice to understand: Chaliapin was understood by all segments of the Russian population.

“S”: Is it true that Fyodor Chaliapin broke glasses with the power of his voice?

I didn't see him do it. But one day I personally watched as a glass, standing quietly on the nightstand, shattered on its own without any extraneous sounds! Apparently, some kind of tension in the molecules... After one of my concerts, friends said that the walls shook when I sang “Dances of Death” by Mussorsky. There are some very powerful moments... I think it was a joke! (Laughs - “S”.)

“S”: You have worked on the most prestigious stages in the world, participated in the opening of the Olympics in Nagano... If it were possible, which concert would you like to repeat?

Closing of the Spoleto festival in Italy, where I performed Mendelssohn’s oratorio. This is great music, big form - two and a half hours. There was an indescribable concert on a summer evening... 10 thousand people sat in the square near the cathedral. A huge choir, a large orchestra and four strong soloists... The concert was broadcast live by Italian television RAI...

“S”: Are you proud of belonging to the Russian people?

Certainly. Nowadays they talk a lot of unnecessary things about spirituality and the Russian nation in general... The truth is one thing: no people have such a deep soul as ours.

“S”: You are called a man of the world, but where is your spiritual homeland?

In St. Petersburg. I also like Rio de Janeiro. These cities are similar in energy, despite their different climates.

“S”: As part of the “Parade of the Best Bass of Our Time” project, you are touring together with Honored Artists of Russia Vladimir Kudashov and Vladimir Ognev. How do you spend your time outside of concerts?

Today we arrived by train from Moscow and immediately fell asleep in the dressing rooms before the rehearsal! We usually share stories about our experiences... We have fun!

"S": What are you reading?

I lived in the West for 20 years and always read Russian classics. I re-read everything - from Tolstoy to Nabokov.

“S”: Do you have enough time to watch feature films?

I watch a lot when I fly on planes. Once upon a time, Andrei Tarkovsky made an indelible impression on me. It was a long time ago... I have little interest in new products. I haven’t seen “Leviathan” and it’s unlikely that I will. Already, a lot of negative things happen every day in the life of every Russian. Apparently, this is why the film did not find such a strong response among us.

“S”: What kind of women do you like?

As the satirist Mikhail Zhvanetsky said, among women one must choose the cheerful one, among the cheerful ones - the smart one, and among the smart ones - the devoted one!

Private bussiness

Denis Sedov

> Born in 1974 in St. Petersburg. Graduated from the choir school. Glinka at the St. Petersburg singing chapel. In 1991 he moved with his family to Israel. Studied at the Jerusalem Academy of Music. Was accepted into the opera studio in Tel Aviv. Later he joined the Metropolitan Opera's young singers program, where he studied with Renata Scotto and Carlo Bergonzi for two years.

Participated in the opening ceremony of the 1998 Winter Olympics in Japan. Takes part in opera productions around the world.

Opera jokes, modern music and bossa nova. A famous opera singer talks about all this Denis Sedov.

Ts.: What do you think about while singing?

– Singing is a very fast mental activity; if the singer is good and the person himself is not a complete idiot, then a whole train of thoughts flashes through his head in a second. The main thing is that the trailers do not collide and go off the rails. To prevent this from happening, you need to concentrate before going on stage in the wings, give your inner world a couple of minutes and after that - all of yourself to the music and through it to the viewer. There may be different thoughts at the head of the team. Depending on the singer’s musical preparedness, these may be the words of the new work being performed; Some especially gifted musicians count beats silently in their heads. You can think about vocals, if it matters: at some point in your career, the voice sounds good and the singing, that is, the sound-producing part of it, reaches automaticity, but sometimes the singer has to think about every note he sings. After this, you can think about musicality, artistry, and the semantic content of the work. If singing occurs during an opera performance, then you need to remember to look at the conductor (he may be offended if you don’t look at him at all) and also remember all the ingenious discoveries of modern directors, which sometimes run counter to what the composer wrote, and not have nothing to do with the intended action. And then there are fellow singers, the acoustics of the theater, hiccups and everything human, including a beautiful woman in a short skirt in the front row, that can intrude on the thought process while singing.

Ts.: Do you study the character in any way? Or just within the framework of a specific opera?

– The character study consists of a musical part, which you begin immediately after you sign a certain contract. You learn the tune and read the libretto - accordingly, first your own role, because it’s interesting what’s written there for you next, and then you look at the other parts and understand how what’s happening on stage is shaping up.

If you are lucky and a sensible stage director comes across the debut of an opera role with his useful thoughts and advice, then this greatly helps to lay the cornerstone in creating a character that will change, enrich and grow from production to production, if, of course, the people of the theater like your first performance and you will be invited to another theater to play the same role. The same applies to the conductor, and in this tandem (singer - conductor - director) something worthwhile can be born, and if all three members of the tandem are great people in their profession, then something unique is born.

Ts.: Is it true that in group scenes the extras talk when they’re not singing?

– In an opera house, it’s usually the chorus talking, not the extras, and even then only during rehearsals, if it’s a decent theater. And so, of course, in a large crowd of people, when the mouth is not busy and everyone knows each other, it’s a sin not to communicate while the tenor is strangling the soprano!

Ts.: Do the artists tease each other, are there any gags or jokes during the performance? For example, rock musicians either smear garlic on a microphone or glue the keys on a synthesizer with tape.

– Usually in opera it is customary to joke at the last performance in a series, after which all the invited singers go home and are out of reach of the management’s retribution and the theater’s repressions. Depending on the theater, they joke differently. They can stick on a long nose to make their colleagues laugh, or insert the word “Tampax” into an aria. And there are even cooler ones - for example, a nail driven from below into the throne of Tsar Boris, so that he could sit on it during the performance - and his pants are full of blood. Or boots nailed to the floor during a quick change of clothes in the wings - you put both feet in and your nose to the floor! They joke in different ways, in different ways...

Ts.: What do you think about modern non-opera music? What do you prefer to listen to (if you prefer, of course)? Or just opera?

I never really liked music from the American-English market, except maybe a little, around 14-15 years old. Neither U2, nor Elton John, nor George Michael, or even Michael Jackson, the Beatles or Elvis Presley... Well, I was not fanatical about listening to all this, just like Russian pop music. Although I got acquainted with the work of almost all the “greats” - from Billy Evans to Tom Waits, and Pink Floyd with Led Zeppelin. But since my first trip to Brazil and, of course, during my life there, I became acquainted with the whole universe of Brazilian music: dozens of brilliant composers and songwriters, Brazilian folk music (in simple terms - samba) - melody, rhythm, harmonic exuberance - everything I'm attracted to her. I learned to play this music and now I even perform on a professional stage, performing songs in Portuguese in my favorite bossa nova style. I will name only three names out of a hundred - these are Tom Jobim, Joao Gilberto and Caetano Veloso.

Ts.: On what opera stages around the world (not in Russia) have you worked? What are the differences between different schools of opera singing?

– I have worked in forty countries and sung about a hundred productions abroad - in Asia, Europe, South and North America. Almost all major or major theaters are active. In the period of general globalization and in the era of records and the Internet, it seems to me that the issue of different schools has disappeared, as well as the virtual boundaries between the cultures of different countries. It used to be that, having sailed by boat to Italy or arrived on stage in Russia, people could hear other singers for the first time and say to themselves: “Wow! They sing completely differently here!” And now any sound, scratch or kick made by someone in Argentina can be heard in Japan on YouTube an hour later. And, of course, by listening and comparing, people learn better. Today there are no schools - today there is correct or incorrect singing. Plus, of course, the soul, which sings differently in different countries.

Ts.: Would you like to take part (or have you already taken part?) in some opera experiments, when these are not classical productions, but something new?

– I took part in the first production of the modern opera “Three Sisters” after Chekhov - I sang the part of Solyony. It was a very unusual performance created through the efforts of Japanese directors. The concept of the opera was to use elements of kabuki and Japanese plastic theater butoh. All female roles were performed by made-up countertenors (male soprano), and the costumes were created in the atelier of designer Kenzo. This production toured extensively. There is a record and video.

Ts.: What do you like most about your profession? What is it like to be an opera singer?

– In my profession I like to sing. This is a calling! It is impossible to stop doing this if you still can. This is theater and its magic! An artistic entrance, dressing rooms, backstage, an empty hall and a stage two hours before the performance... This is an audience that expects a miracle every moment, a huge injection of adrenaline and an exchange of energy with the audience. On stage you forget about everything except the stage. This is indescribable! Any pains of the artist recede under the spotlight. And this is also the magic of theater. And, of course, traveling around the world. One of my friends said to me in response to my whining about frequent travel: “Denis, why do people want to win the lottery? What do they want to spend the money on? To travel! How are you! And they also pay you for it!” Of course, it's wonderful to be a singer, but don't forget that at the same time it's incredibly difficult because of the rhythm of life in which we live.

Ts.: Which of the modern (not old) opera singers do you think is the best?

– I like my colleague - bass from Germany Rene Pape. I sing with him in August.

Ts.: What was the biggest challenge in your career?

– The biggest challenge was learning to sing correctly and finding a teacher. It is very difficult for young singers to find the truth in this sea of ​​advice, teachers, and assistants. This is the most difficult and most important thing - to find your voice so that it serves for many years.

Ts.: What question would you ask yourself?

– I ask myself the same question: a bass career lasts 45 years - how can I bear another 25 years? :)))

Interviewed by Anna Samofalova.

At the Singing Chapel of St. Petersburg, he took a class in choral conducting and went to enroll in the conducting department at the Jerusalem Academy of Music and Dance. Rubin, but accidentally missed the exam. In order not to lose a whole year of study, Denis decided to enroll in the vocal department there.

In 1993, Denis's first professional performance took place at the Ludwigsburg Festival, where he sang a concert of contemporary music with an orchestra.

In 1995, he was invited to participate in the Lindemann Young Artist Development Program at the Metropolitan Opera (New York), where he trained for 2 years with such opera legends as Renata Scotto, Louis Quilico, Regine Crispin, Carlo Bergonzi.

The singer became widely known for his performance of Beethoven's Symphony No. 9 at the opening ceremony of the 18th Winter Olympic Games in 1998 in Nagano.

Denis Sedov sang with such stars as: Placido Domingo, Yo-Yo Ma, Pierre Boulez, Riccardo Muti, Nikolai Gyaurov, James Levine, Kurt Masur, Seiji Ozawa, Nani Bregvadze. The singer collaborated with several well-known record labels: Deutsche Grammophon, Telarc, Naxos.

International career

Year	Theater	Opera	The consignment
1996	Spoleto Festival (Italy)	"Semele"	Somnus
1996	Metropolitan Opera (USA)	"Fedora"	Nikola
1997	Seattle Opera (USA)	"The Marriage of Figaro"	Figaro
1997	Spoleto Festival (Italy)	"Semele"	Somnus
1997	Spoleto Festival (Italy)	"Or me "	Prophet Elijah
1997	Spoleto Festival (Italy)	"The Childhood of Christ"	Herod, father of the family
1997	Israel Philharmonic	"The Curse of Faust"	Brander (with the Israel Philharmonic Orchestra)
1997	Flemish Opera (Antwerp, Belgium)	"World creation "	Adam
1998	Metropolitan Opera (USA)	"Bohemia"	Collen
1998	Royal Opera House, Covent Garden (UK)	"The Marriage of Figaro"	Figaro
1998	Lyon Opera (France)	"Three sisters "	Soleny Vasily Vasilievich
1998	Opera Comique (France)	"Somnambulist"	Count Rodolfo
1999	Opera Comique (France)	"Don Juan "	Don Juan
1999	Paris Opera Bastille (France)	"Bohemia"	Collen
1999		"Coronation of Poppea"	Seneca
1999	Festival of Saint Denis (France)	"Pulcinella"	with the French Radio Orchestra
2000	Theater an der Wien (Vienna, Austria)	"Coronation of Poppea"	Seneca
2000	La Scala (Italy)	"Don Juan "	Leporello
2000	Minnesota Opera (USA)	"Semiramis"	Assur
2000	The Aspen Music Festival (USA)	"Aida"	Pharaoh
2000	Opera festival Aix-En-Provence Festival (France)	"Coronation of Poppea"	Seneca
2000	Dorothy Chandler Pavilion (USA)	"Requiem (Verdi)"	with the Los Angeles Philharmonic Orchestra
2001		"Louise Miller"	Count Walter
2001	Teatro Colon (Argentina)	"Norma"	Oroveso
2001	Lyon Opera (France)	"Magical flute "	Sarastro
2001	Theater Chatelet (France)	"Three sisters "	Soleny Vasily Vasilievich
2001		"Magical flute "	Sarastro
2001	Edinburgh Festival Theater (Scotland)	"Three sisters "	Soleny Vasily Vasilievich
2001	Opera festival Aix-En-Provence Festival (France)	"Magical flute "	Sarastro
2001	The Salzburg Easter Festival (Germany)	"Ariodante"	King of Scotland
2001	Montreux festival (Switzerland)	"Romeo and Juliet "	Lorenzo
2001	Theater du Capitole de Toulouse (France)	"Count Ory"	Governor
2001	Munich Philharmonic (Germany)	"Norma"	Oroveso, (with the Bavarian Radio Symphony Orchestra)
2001	Semper Opera (Dresden, Germany)	"Ariodante"	King of Scotland
2001	Edinburgh Festival Theater (Scotland)	"Three sisters "	Soleny Vasily Vasilievich
2001	Severance Hall (Cleveland, USA)	"Romeo and Juliet "	Lorenzo
2002		"Don Juan "	Leporello
2002	National Opera of Bordeaux (France)	"Don Juan "	Don Juan
2002	San Francisco Opera (USA)	"Carmen"	Escamillo
2002	San Francisco Opera (USA)	"Julius Caesar in Egypt"	Aquilla
2002		"Mohammed II"	Mohammed II
2002	Theater de Champ-Elise (France)	"Oedipus the King"	Tiresias
2002	Rossini Festival in Wiesbald (Germany)	"Mohammed II"	Mohammed II
2003	National Opera of Bordeaux (France)	"The Tsar's Bride"	Sobakin
2003	Theater Chatelet (France)	"The Tsar's Bride"	Sobakin
2003	Musical Theater Amsterdam (Netherlands)	"Bohemia"	Collen
2004	Opera in Nice (France)	"Italian in Algeria"	Mustafa Bey
2004	Opera de Montreal (Canada)	"Turandot"	Timur
2004	Opera House of Marseille (France)	"Turk in Italy"	Selim
2004	National Rhine Opera (France)	"Italian in Algeria"	Mustafa Bey
2004	Opera de Montreal (Canada)	"Romeo and Juliet "	Lorenzo
2005		"Ann Bolein "	King Henry VIII of England
2005	Teatro Real Torino (Italy)	"Don Juan "	Don Juan
2006	Metropolitan Opera (USA)	"Mazepa"	Orlik
2006	Grand Theater Liceu (Spain)	"Ariodante"	King of Scotland
2006	Philharmonic Orchestra of Radio France	"Requiem (Mozart)"
2006	Theater Royal de la Monnaie (Belgium)	"Journey to Reims"	Don Profondo
2006	Metropolitan Opera Tour in Japan	"Don Juan "	Masetto
2006	Municipal Theater of Santiago (Chile)	"Don Juan "	Don Juan
2006	Opera de Montreal (Canada)	"Romeo and Juliet "	Lorenzo
2007	Seattle Opera (USA)	"Puritans"	Sir George Walton
2007	Minnesota Opera (USA)	"The Marriage of Figaro"	Figaro
2007	Cincinnati Opera (USA)	"Faust"	Mephistopheles
2008	Washington National Opera (USA)	"Pearl Finders"	Nurabad
2008	L'Opera de Montreal (Canada)	"Romeo and Juliet "	Lorenzo
2008	Atlanta Opera House (USA)	"Bohemia"	Collen
2008	Bercy Sports Palace (Paris, France)	"Symphony No. 8 (Gustav Mahler)"
2008	Pepsi Coliseum Arena (Quebec, Canada)	"Symphony No. 8 (Gustav Mahler)"
2009	Teatro de la Maestranza (Seville, Spain)	"Orlando"	Zoroastro
2009	Carnegie Hall (USA)	"Nightingale"	Chamberlain
2009	Lyric Opera of Chicago (USA)	"Song of the Forests"	bass line
2010	Teatro Colon (Argentina)	"Bohemia"	Collen
2010	Pittsburgh Opera House (USA)	"Lucia di Lammermoor"	Raimondo
2010	Atlanta Opera House (USA)	"Magical flute "	Sarastro
2010	Palm Beach Opera (USA)	"Don Juan "	Leporello
2010	Cincinnati Opera (USA)	"Bohemia"	Collen
2010	Cincinnati Opera (USA)	"Othello"	Lodovico
2010	Amigos de la Opera de Pamplona (Spain)	"Carmen"	Escamillo
2010	The Vancouver Concert Hall (Canada)	"Symphony No. 8 (Gustav Mahler)"
2011	Cincinnati Opera (USA)	"Eugene Onegin "	Prince Gremin
2011		"Mozart and Salieri"	Salieri
2011	Municipal Theater of Rio de Janeiro (Brazil)	"Requiem (Mozart)"
2011	Teatro Cervantes (Malaga, Spain)	"Ivan groznyj "	Ivan groznyj
2011	Palace of Catalan Music (Spain)	"Bells (Rachmaninoff)"	baritone part
2012	Municipal Theater Giuseppe Verdi in Salerno (Italy)	"Romeo and Juliet "	Lorenzo
2012	Theatro Municipal De Sao Paulo (Brazil)	"Nightingale"	Chamberlain
2012	Carnegie Hall (USA)	"Symphony No. 8 (Gustav Mahler)"
2012	Theater in Costa Mesa (USA)	"Bohemia"	Collen
2013	Carnegie Hall (USA)	"Symphony No. 1 (Ernest Bloch)"
2013	Theatro da Paz (Brazil)	"Flying Dutchman "	Daland
2013	Theatro Belo Horizonte (Brazil)	"Requiem (Verdi)"
2013	Teatro Rio Pedras (Puerto Rico)	"Mina de Oro"	Lawyer Jimenez
2014	Carnegie Hall (USA)	“Oratorio “Haggadah” (Paul Dessau)”
2014	Theater Jacksonville (USA)	"Requiem (Verdi)"
2014	New Israeli Opera (Israel)	"The Barber of Seville"	Basilio
2014	Theatro da Paz (Brazil)	"Mephistopheles"	Mephistopheles
2014	Nice Opera (France)	"Semele"	Somnus, Cadmus
2015	Teatro Baluarte (Pamplona, ​​Spain)	"Don Juan "	Leporello
2016	National Opera "Estonia" (Tallinn, Estonia)	"Aida"	Ramfis

Career in Russia

Denis Sedov conducts extensive touring activities not only abroad. Russian listeners in about eighty cities from Moscow and St. Petersburg to Murmansk and Vorkuta, from Tyumen and Kazan to Irkutsk, Chita, Vladivostok and Sakhalin were able to hear the singer’s voice on the stages of their philharmonic societies and opera houses.

Bossa nova & Samba

The singer plans to work in several original projects at once. First of all, the show program “Around the World with a Balalaika” with the Bis-Kvit ensemble, as well as a program of Brazilian popular music - bossa nova and samba - “White Bossa Project” in a chamber composition.

Videos

• - “The Coronation of Poppea” by Claudio Monteverdi (Seneca), dir. Klaus Michael Grüber, dir. Mark Minkowski, Aix-en-Provence Opera Festival.

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Excerpt characterizing Sedov, Denis Borisovich

- But that would be good, gentlemen!
The officers laughed.
- At least scare these nuns. Italians, they say, are young. Really, I would give five years of my life!
“They’re bored,” said the bolder officer, laughing.
Meanwhile, the retinue officer standing in front was pointing something out to the general; the general looked through the telescope.
“Well, so it is, so it is,” the general said angrily, lowering the receiver from his eyes and shrugging his shoulders, “and so it is, they will attack the crossing.” And why are they hanging around there?
On the other side, the enemy and his battery were visible to the naked eye, from which milky white smoke appeared. Following the smoke, a distant shot was heard, and it was clear how our troops hurried to the crossing.
Nesvitsky, puffing, stood up and, smiling, approached the general.
- Would your Excellency like to have a snack? - he said.
“It’s not good,” said the general, without answering him, “our people hesitated.”
– Shouldn’t we go, Your Excellency? - said Nesvitsky.
“Yes, please go,” said the general, repeating what had already been ordered in detail, “and tell the hussars to be the last to cross and light the bridge, as I ordered, and to inspect the flammable materials on the bridge.”
“Very good,” answered Nesvitsky.
He called to the Cossack with the horse, ordered him to remove his purse and flask, and easily threw his heavy body onto the saddle.
“Really, I’ll go see the nuns,” he said to the officers, who looked at him with a smile, and drove along the winding path down the mountain.
- Come on, where will it go, captain, stop it! - said the general, turning to the artilleryman. - Have fun with boredom.
- Servant to the guns! - the officer commanded.
And a minute later the artillerymen ran out cheerfully from the fires and loaded.
- First! - a command was heard.
Number 1 bounced smartly. The gun rang metallic, deafening, and a grenade flew whistling over the heads of all our people under the mountain and, not reaching the enemy, showed with smoke the place of its fall and burst.
The faces of the soldiers and officers brightened at this sound; everyone got up and began observing the clearly visible movements of our troops below and in front of the movements of the approaching enemy. At that very moment the sun completely came out from behind the clouds, and this beautiful sound of a single shot and the shine of the bright sun merged into one cheerful and cheerful impression.

Two enemy cannonballs had already flown over the bridge, and there was a crush on the bridge. In the middle of the bridge, having dismounted from his horse, pressed with his thick body against the railing, stood Prince Nesvitsky.
He, laughing, looked back at his Cossack, who, with two horses in the lead, stood a few steps behind him.
As soon as Prince Nesvitsky wanted to move forward, the soldiers and carts again pressed on him and again pressed him against the railing, and he had no choice but to smile.
- What are you, my brother! - the Cossack said to the Furshtat soldier with the cart, who was pressing on the infantry crowded with the very wheels and horses, - what are you! No, to wait: you see, the general has to pass.
But furshtat, not paying attention to the name of the general, shouted at the soldiers blocking his way: “Hey!” fellow countrymen! keep left, wait! “But the fellow countrymen, crowding shoulder to shoulder, clinging with bayonets and without interruption, moved along the bridge in one continuous mass. Looking down over the railing, Prince Nesvitsky saw the fast, noisy, low waves of Ens, which, merging, rippling and bending around the bridge piles, overtook one another. Looking at the bridge, he saw equally monotonous living waves of soldiers, coats, shakos with covers, backpacks, bayonets, long guns and, from under the shakos, faces with wide cheekbones, sunken cheeks and carefree tired expressions, and moving legs along the sticky mud dragged onto the boards of the bridge . Sometimes, between the monotonous waves of soldiers, like a splash of white foam in the waves of Ens, an officer in a raincoat, with his own physiognomy different from the soldiers, squeezed between the soldiers; sometimes, like a chip winding through a river, a foot hussar, an orderly or a resident was carried across the bridge by waves of infantry; sometimes, like a log floating along the river, surrounded on all sides, a company or officer's cart, piled to the top and covered with leather, floated across the bridge.
“Look, they’ve burst like a dam,” the Cossack said, stopping hopelessly. -Are there many of you still there?
– Melion without one! - a cheerful soldier walking nearby in a torn overcoat said winking and disappeared; another, old soldier walked behind him.
“When he (he is the enemy) begins to fry the taperich on the bridge,” the old soldier said gloomily, turning to his comrade, “you will forget to itch.”
And the soldier passed by. Behind him another soldier rode on a cart.
“Where the hell did you stuff the tucks?” - said the orderly, running after the cart and rummaging in the back.
And this one came with a cart. This was followed by cheerful and apparently drunk soldiers.
“How can he, dear man, blaze with the butt right in the teeth…” one soldier in an overcoat tucked high said joyfully, waving his hand widely.
- This is it, sweet ham is that. - answered the other with laughter.
And they passed, so Nesvitsky did not know who was hit in the teeth and what the ham was.
“They’re in such a hurry that he let out a cold one, so you think they’ll kill everyone.” - the non-commissioned officer said angrily and reproachfully.
“As soon as it flies past me, uncle, that cannonball,” said the young soldier, barely restraining laughter, with a huge mouth, “I froze.” Really, by God, I was so scared, it’s a disaster! - said this soldier, as if boasting that he was scared. And this one passed. Following him was a carriage, unlike any that had passed so far. It was a German steam-powered forshpan, loaded, it seemed, with a whole house; tied behind the forshpan that the German was carrying was a beautiful, motley cow with a huge udder. On the feather beds sat a woman with a baby, an old woman and a young, purple-red, healthy German girl. Apparently, these evicted residents were allowed through with special permission. The eyes of all the soldiers turned to the women, and while the cart passed, moving step by step, all the soldiers' comments related only to two women. Almost the same smile of lewd thoughts about this woman was on all their faces.
- Look, the sausage is also removed!
“Sell mother,” another soldier said, emphasizing the last syllable, turning to the German, who, with his eyes downcast, walked angrily and fearfully with wide steps.
- How did you clean up! Damn it!
“If only you could stand with them, Fedotov.”
- You saw it, brother!
- Where are you going? - asked the infantry officer who was eating an apple, also half-smiling and looking at the beautiful girl.
The German, closing his eyes, showed that he did not understand.
“If you want, take it for yourself,” the officer said, handing the girl an apple. The girl smiled and took it. Nesvitsky, like everyone else on the bridge, did not take his eyes off the women until they passed. When they passed, the same soldiers walked again, with the same conversations, and finally everyone stopped. As often happens, at the exit of the bridge the horses in the company cart hesitated, and the whole crowd had to wait.
- And what do they become? There is no order! - said the soldiers. -Where are you going? Damn! There's no need to wait. Even worse, he will set the bridge on fire. “Look, the officer was locked in too,” the stopped crowds said from different sides, looking at each other, and still huddled forward towards the exit.
Looking under the bridge at the waters of Ens, Nesvitsky suddenly heard a sound that was still new to him, quickly approaching... something big and something plopping into the water.
- Look where it's going! – the soldier standing close said sternly, looking back at the sound.
“He’s encouraging them to pass quickly,” said another restlessly.
The crowd moved again. Nesvitsky realized that it was the core.
- Hey, Cossack, give me the horse! - he said. - Well you! stay away! step aside! way!
With great effort he reached the horse. Still screaming, he moved forward. The soldiers squeezed to give him way, but again they pressed on him again so that they crushed his leg, and those closest were not to blame, because they were pressed even harder.
- Nesvitsky! Nesvitsky! You, madam!” a hoarse voice was heard from behind.
Nesvitsky looked around and saw, fifteen paces away, separated from him by a living mass of moving infantry, red, black, shaggy, with a cap on the back of his head and a brave mantle draped over his shoulder, Vaska Denisov.
“Tell them what to give to the devils,” he shouted. Denisov, apparently in a fit of ardor, shining and moving his coal-black eyes with inflamed whites and waving his unsheathed saber, which he held with a bare little hand as red as his face.
- Eh! Vasya! – Nesvitsky answered joyfully. - What are you talking about?
“Eskadg “onu pg” you can’t go,” shouted Vaska Denisov, angrily opening his white teeth, spurring his beautiful black, bloody Bedouin, who, blinking his ears from the bayonets he bumped into, snorting, spraying foam from the mouthpiece around him, ringing, he beat his hooves on the boards of the bridge and seemed ready to jump over the railings of the bridge if the rider would allow him. - What is this? like bugs! exactly like bugs! Pg "och... give dog" ogu!... Stay there! you're a wagon, chog"t! I'll kill you with a saber! - he shouted, actually taking out his saber and starting to wave it.
The soldiers with frightened faces pressed against each other, and Denisov joined Nesvitsky.
- Why aren’t you drunk today? - Nesvitsky said to Denisov when he drove up to him.
“And they won’t let you get drunk!” answered Vaska Denisov. “They’ve been dragging the regiment here and there all day long. It’s like that, it’s like that. Otherwise, who knows what it is!”
- What a dandy you are today! – Nesvitsky said, looking at his new mantle and saddle pad.
Denisov smiled, took out a handkerchief from his bag, which smelled of perfume, and stuck it in Nesvitsky’s nose.
- I can’t, I’m going to work! I got out, brushed my teeth and put on perfume.
The dignified figure of Nesvitsky, accompanied by a Cossack, and the determination of Denisov, waving his saber and shouting desperately, had such an effect that they squeezed onto the other side of the bridge and stopped the infantry. Nesvitsky found a colonel at the exit, to whom he needed to convey the order, and, having fulfilled his instructions, went back.
Having cleared the road, Denisov stopped at the entrance to the bridge. Casually holding back the stallion rushing towards his own and kicking, he looked at the squadron moving towards him.
Transparent sounds of hooves were heard along the boards of the bridge, as if several horses were galloping, and the squadron, with officers in front, four in a row, stretched out along the bridge and began to emerge on the other side.
The stopped infantry soldiers, crowding in the trampled mud near the bridge, looked at the clean, dapper hussars marching orderly past them with that special unfriendly feeling of alienation and ridicule with which various branches of the army are usually encountered.
- Smart guys! If only it were on Podnovinskoe!
- What good are they? They only drive for show! - said another.
- Infantry, don't dust! - the hussar joked, under which the horse, playing, splashed mud at the infantryman.
“If I had driven you through two marches with your backpack, the laces would have been worn out,” the infantryman said, wiping the dirt from his face with his sleeve; - otherwise it’s not a person, but a bird sitting!
“If only I could put you on a horse, Zikin, if you were agile,” the corporal joked about the thin soldier, bent over from the weight of his backpack.
“Take the club between your legs, and you’ll have a horse,” responded the hussar.

The rest of the infantry hurried across the bridge, forming a funnel at the entrance. Finally, all the carts passed, the crush became less, and the last battalion entered the bridge. Only the hussars of Denisov's squadron remained on the other side of the bridge against the enemy. The enemy, visible in the distance from the opposite mountain, from below, from the bridge, was not yet visible, since from the hollow along which the river flowed, the horizon ended at the opposite elevation no more than half a mile away. Ahead there was a desert, along which here and there groups of our traveling Cossacks were moving. Suddenly, on the opposite hill of the road, troops in blue hoods and artillery appeared. These were the French. The Cossack patrol trotted away downhill. All the officers and men of Denisov’s squadron, although they tried to talk about outsiders and look around, did not stop thinking only about what was there on the mountain, and constantly peered at the spots on the horizon, which they recognized as enemy troops. The weather cleared again in the afternoon, the sun set brightly over the Danube and the dark mountains surrounding it. It was quiet, and from that mountain the sounds of horns and screams of the enemy could occasionally be heard. There was no one between the squadron and the enemies, except for small patrols. An empty space, three hundred fathoms, separated them from him. The enemy stopped shooting, and the more clearly one felt that strict, menacing, impregnable and elusive line that separates the two enemy troops.