Zach Borichevsky
Tenor

"Borichevsky was the star - He will soon rise to the top of the international opera world." (Helsingin Sanomat, March 2014)

Contacts

Ian Stones +44 (0)20 3725 9104
Clare Erskine +44 (0)20 3725 9145

Biography

Establishing himself as one of the most exciting new vocal talents to emerge on the international stage, this season Zach Borichevsky makes his debut as Edmondo (Manon Lescaut) for The Metropolitan Opera under Fabio Luisi and his English National Opera debut as Rodolfo (La bohème) under Xian Zhang.

An outstanding graduate of the Academy of Vocal Arts, Philadelphia, subsequent debuts have included Rodolfo (La bohème) with Finnish National Opera and Alfredo (La traviata) with Glyndebourne Touring Opera.

Further highlights this season include a return to the Santa Fe Festival for his role debut as Anatol in

...

Establishing himself as one of the most exciting new vocal talents to emerge on the international stage, this season Zach Borichevsky makes his debut as Edmondo (Manon Lescaut) for The Metropolitan Opera under Fabio Luisi and his English National Opera debut as Rodolfo (La bohème) under Xian Zhang.

An outstanding graduate of the Academy of Vocal Arts, Philadelphia, subsequent debuts have included Rodolfo (La bohème) with Finnish National Opera and Alfredo (La traviata) with Glyndebourne Touring Opera.

Further highlights this season include a return to the Santa Fe Festival for his role debut as Anatol in a new production of Vanessa, and a role debut as Eisenstein in Die Fledermaus with Cincinnati Opera. On the concert platform Zach and joins the Minnesota Orchestra for Beethoven’s Symphony No.9 under Osmo Vänskä, returns to the Netherlands Radio Philharmonic Orchestra to reprise the role of Lazarus in John Adams’ The Gospel According to the Other Mary under Markus Stenz and sings his first performances of The Dream of Gerontius with the Orquesta Sinfónica del Principado de Asturias under Rossen Milanov.

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Contacts

Ian Stones +44 (0)20 3725 9104
Clare Erskine +44 (0)20 3725 9145

Reviews

"Zach Borichevsky (Ravenswood) has a sweet, lyric tenor voice that can thrill as much with a finely shaded pianissimo as with a high note hit cleanly without strain. He was at his best in the lament “Tombe degli avi miei” in the last act." (The Charlotte Observer, April 2015)

"And tenor Zach Borichevsky is a standout as Lensky, singing with a lilting melancholy as he prepares to fight a duel with his onetime friend." (Arizona Central, April 2015)

"In a jealous rage, Zach Borichevsky as Lensky sang with colorful dramatic tones as he challenged Onegin to the duel, which became the opera’s main tragedy. Lensky’s aria, 'Kuda, kuda vy udalilis' provided some beautiful light moments in this

...

"Zach Borichevsky (Ravenswood) has a sweet, lyric tenor voice that can thrill as much with a finely shaded pianissimo as with a high note hit cleanly without strain. He was at his best in the lament “Tombe degli avi miei” in the last act." (The Charlotte Observer, April 2015)

"And tenor Zach Borichevsky is a standout as Lensky, singing with a lilting melancholy as he prepares to fight a duel with his onetime friend." (Arizona Central, April 2015)

"In a jealous rage, Zach Borichevsky as Lensky sang with colorful dramatic tones as he challenged Onegin to the duel, which became the opera’s main tragedy. Lensky’s aria, 'Kuda, kuda vy udalilis' provided some beautiful light moments in this otherwise dark work." (Opera Today, April 2015)

"Partnering her skilfully was the American tenor Zach Borichevsky, a tall, good-looking, healthy-sounding Alfredo, who suggested in his physical manner a touching gaucheness alternating with impulsiveness – exactly as the drama requires. Together these two young artists succeeded in striking sparks of each other, conveying a pair of individuals instantly and fatally attracted” (George Hall, Opera Magazine, November 2014)

"...the American tenor sings intelligently and vibrantly, with great and unusual attention to the text." (Neil Fisher, The Times, October 2014)

"She is well partnered by the American tenor Zach Borichevsky, whose tall, good-looking Alfredo is both touchingly gauche and impulsive, as required by the drama. Together they strike sparks off each other as two individuals instantly and completely attracted to one another." (George Hall, Guardian, October 2014)

"The revelation, though, was the young American tenor Zach Borichevsky, who made an astonishingly assured company (and indeed UK) debut as Alfredo. Packing a distinctively dark-coloured, fluent lyric tenor, he turned in a performance that was not only technically flawless but also had that magical sense of complete spontaneity that comes from being in total command of the instrument. Like his compatriot and predecessor in this production, Michael Fabiano, Borichevsky gives us an unusually sympathetic Alfredo who's as yet untested but by no means a wet fish – you really believe him when he declares that he's going to sort things out in Paris once and for all – and his denunciation of Violetta at the card-tables really does appear to be done more in sorrow than in anger." (Katherine Cooper, Whats On Stage, October 2014)

"Zach Borichevsky - tall, lean, good-looking - was a Rodolfo of one’s dreams, equipped with a flexible, bright voice that has already made him one of the most sought-after singers of his generation. His pianissimos should teach many a 'can belto' tenor a lesson." (Göran Forsling, Seen and Heard International, April 2014)

"Borichevsky was the star of the premiere - a grander and more romantic-looking Rodolfo would be hard to find. The tall young man has a clear natural tenor voice, which rises high with unforced buoyancy. His beautiful lyric sound is a sleek metallic splendour. He will soon rise to the top of the international opera world ." (Helsingin Sanomat, March 2014)

“Zach Borichevsky sings stirringly as Jonathan Dale, a young soldier who cannot stomach this strange truce." (Tim Smith, The Baltimore Sun, February 2013, on Silent Night at Opera Philadelphia)

“Zach Borichevsky and Corinne Winters sang Roméo and Juliette most convincingly. Tall and slim with an exciting sound to his tenor voice, Borichevsky was perfect for his part… Both these singers can act, too, and that added measurably to this performance. Borichevsky sang a small part in Richard Strauss’ Arabella last summer in Santa Fe but even that few minutes onstage were enough to alert the audience to his significant talent.” (Opera Today, 2012)

“Tenor Zach Borichevsky, as the confused Matteo, showed an impressive tenor that is perfectly suited to the German repertoire.” (TheaterJones,  2012)

“Zach Borichevsky was equally robust vocally and cut a tall, dashing figure as the tortured Matteo.” (The Classical Review, 2012)