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 Misha
Didyk has emerged as one of opera's most exciting tenors. Since making his debut in North America with the Opera Company of Philadelphia in a gala event "Grand Opera's Greatest Hits" where he appeared with opera `superstars' Samuel Ramey, Denyce Graves and Jerry Hadley, he has gone on to sing the title role in Werther, the Duke of Mantua in Rigoletto, and Tebaldo in I Capuleti ed i Montecchi with the company. He has also appeared in North America with the New York City Opera as Rodolfo in Puccini’s La Boheme and the Duke of Mantua, Opera Pacific as Rodolfo in La Boheme, and Pinkerton, Michigan Opera Theater as Alfredo in La Traviata, the Opera de Puerto Rico as Pinkerton in Madama Butterfly, Marseille Opera as Rodolfo, Avignon Opera as Riccardo in Un Ballo in Maschera, the New Israeli Opera as Duke of Mantua and in Göteborg, Sweden as Gherman in The Queen of Spades .
Misha Didyk began his career in his native Ukraine as a soloist with the National Opera of Ukraine, where he sang Lensky in Eugene Onegin, Alfredo in La Traviata, the Duke in Rigoletto and Gherman in The Queen of Spades. Shortly afterwards he began to receive invitations from the Bolshoi Theatre in Moscow and Mariinski Theater in St. Petersburg as Alfredo in La Traviata and made an impressive international debut at the Finnish National Opera as Lord Percy in Anna Bolena.
In 2005, he made auspicious debuts with Teatro alla Scala, Milan and the San Francisco Opera as Gherman in Tchaikovsky’s `The Queen of Spades’ – the part that became one of his signature roles. Misha returned to Gothenburg as Pinkerton and Liege as Carlo Moor in Verdi’s I Masnadieri. In 2006 Misha appeared in Copenhagen in the title role of Werther and returned to the San Francisco Opera as Charles VII in Tchaikovsky's Maid of Orleans and des Grieux in Puccini's Manon Lescaut with Karita Mattila.
In 2007 he took the role of Cavaradossi in three different productions of Tosca for the Royal Danish Opera, for the Teatro de la Maestranza in Seville and at the Greek National Opera, and the role of Gherman with the Vlaamse Opera in Antwerpen and Ghent.
In 2007 Misha recorded the part of Paolo in Francesca da Rimini and in 2008 the part of Albert in The Miserly Knight by Rachmaninoff with Gianandrea Noseda and the BBC Philharmonic for Chandos Records
The 2007/2008 season brought the unique experience, strength and great success in two very different roles. Ruggero Lastouc in Puccini’s La Rondine, performing opposite Angela Gheorghiu for the project Opera for Cinema, at the San Francisco Opera and the profoundly psychological Alexey Ivanovich in Prokofiev’s The Gambler (based on Dostoyevsky’s story) at Teatro alla Scala and Staatsoper Unter den Linden Berlin with Daniel Barenboim. Both roles were recorded for DVD. In 2009 he performed the role of Alexey Ivanovich in the new production of `The Gambler’ at Opéra National de Lyon.
Misha Didyk is a graduate of the National Academy of Music where he studied in the class of National Artist of the USSR Vassily Tretiak and National Artist of Ukraine Timokhin, and Professor Z. Lichtman, He has also studied with Professor Anna Maria Bondi at the Opera de la Bastille in Paris and with Eugenia Miroshnichenko, of the Ukraine's most prominent singer.
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Opera Pacific: Un Ballo in Maschera ( Avignon,
May 2004)
Forum Opera
Avignon 11/05/04
Jacques SCHMITT
Un Ballo in Maschera "UN PLATEAU
EXCEPTIONNEL"
Il en faut de la conviction dans la voix
pour s'avouer un amour reciproque
sans se regarder, face au public, a dix
metres l'un de l'autre, a chaque
angle d'une scene. Il en faut de l'emotion
pour que, maigre tout, on soit
bouleverse par le message. C'est pourtant
ce que reussissent Manon Feubel
(Amelia) et MISHA DIDYK (Gustav III, Roi
de Suede) quand ils se declarent
leur flamme aupied da l"arbre des
pendus ou pousse la mangragore.
Le jeune tenor ukrainien MISHA DIDYK
(1) (Gustav III, Roi de Suede) complete
cette brilliante distribution, Jusqu'ici
peu connu sous nos latitudes, vocalement
elegant, puissant, son aisance dans le
phrase le
projette dans la distinction du role.
Comme sa compagne de scene Manon
Feubl, MISHA DIDYK delaisse les gestes
imperieux pour donner a se seule
voix le soin de "dire" le texte
lyrique.
Opera Pacific:
Madame Butterfly ( November 2003)
The following is excerpted from Peter
Lefevre's review in the Orange CountyREGISTER
of the second performance of Butterfly:
+++++++++++++++++++++++++++++++++++++
"Rafael Suarez, originally set to
alternate with Ukrainian tenor Misha Didyk
in the role of Pinkerton, was scratched
from the show. There were plenty of rumors
but no substantial reason to doubt the
spokesman for Opera Pacific who cited
"medical reasons" for Suarez's
absence.
Regardless, the decision placed Didyk
in the unenviable position of singing
the full run.
As for Didyk - who was the equivalent
of a pitcher going on two days' rest -
he sounded strong and brassy throughout.
Maybe the fatigue will catch up to him
later in the run, but I suspect not. He
paces himself well. On Wednesday his consonants
sounded crisp, his tone amply supported.
The details you might expect to lose were
still there. A very efficient and impresssive
performance, with plenty of force and
clarity at the end."
Gothenburg,
Sweden: Queen of Spades ( September 2003)
The tenor Misha Didyk is most convincing
as Herman. Through absolute sensitivity
of tone he catches the two sides of the
part, the combination of total insecurity
and total obsession. Without using any
expressionistic exaggerations free reins
are given to the romantic, which provides
air and space to the voice.
Magnus Haglund GoteborgsPosten 15.09.03
At this point Herman’s part grows
into its maximum, carried in a completely
convincing way by questing tenor Misha
Didyk from Ukraine (evidently a ground
for great singing - voices). His light
voice sounds magnificently, keeping itself
in full intensity all the way up in the
register, most rarely heard today. He
also develops the soft sides of his role,
the hesitance, the resignation, the glowing
love and the extravagant intoxication
in his madness of gambling. His sudden
death is not what the librettist had expected…
Jan-Axel Axelsson Boroas Tidning 16.09.03
The Ukrainian tenor Misha Didyk made
an excellent stage personality of Herman
and was also for this part a splendid
choice of singer from the opera management.
In the final of the second act and at
the beginning of the third act two of
them (including Marianne Schell as the
old countess) contributed in creating
an intensive music drama of very high
quality.
Sven Andersson Hallands Nyheter 19.09.03
The performance holds an impressing vocal
standard throughout with the cast toppedby
the Ukrainian tenor Misha Didyk –
who to the splendor and brilliance of
hisvoice adds credibility as well as insight
and expressiveness full of nuances.
Jan Hoakaansson Hallandsposten 17.09.03
Marseille
"... MISHA DIDYK OFFERED WONDERFULLY
CLEAR AND FOCUSED TENOR SOUND AS MACDUFF,
..." OPERA ( London)
What can one say about this tenor? If
not that his very beautiful air, expressing
a rare refinement, an elegance and an
astonishing ease, which, in the case of
a Verdi interpreter, was justifiably hailed
by unanimous applause on the part of the
many spectators at the Premiere, all of
whom considered it a general triumph.
`La Marseillaise' No 3255 (Dimanche
(Sunday) 27 Janvier (January) 2002), Marseille
Puerto Rico
What we did not expect was the magnificent
performance given by Russian tenor Michael
Didyk. His gigantic, powerful, and very
well controlled lyric voice which has
inside a dark, burnished tone reminiscent
of a big Russian Orthodox Cathedral Bell.
His top notes are solid and his middle
register is short of astonishing. Add
to this really dashing good looks, and
good stage presence and we have the makings
of a truly great operatic singer.
If an enterprising local opera nut were
to start here a Michael Didyk Fan Club,
he or she would probably find many would
be subscribers. I may even consider joining
it myself. Jorge Martinez Sola (Star
Music Critic)
The San Juan Star - Saturday. May 13,
2000. (photos)
Helsinki
Tenor Michael Didyk who played the part
of Percy, Anna's lover in her youth, was
also greatly acclaimed - he was brilliant
in both acting and singing. The audience
was bowled over from the first short cavatina
in Act I! HELSINGIN SANOMAT, November
29, 1998 (photos)
Michael Didyk was a paragon of tenoral
power
TURUN SANOMAT, November 30, 1998
La Traviata was rapturously received.
Opera Now' November/December, 1998
(photos)
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Misha
Didyk won the Taras Shevchenko State Award in
Ukraine in 1998 and the title of the "National
Artist of Ukraine" 1999.
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