Dimitry Ivashchenko
NAME
Dimitry Ivashchenko
HOMELAND
Russland
STUDY
Singing at M. I. Glinka State Conservatory in Novosibirsk
Further training at Staatliche Hochschule für Musik in Karlsruhe
CDs
2012: Richard Wagner Parsifal (PentaTone Classics)
2015: Wolfgang Amadeus Mozart Die Entführung aus dem Serail (harmonia mundi)
2017: Ludwig van Beethoven Sinfonien 1–9 (Studio Marek Polewski)
2019: Ludwig van Beethoven Leonore (harmonia mundi)
2019: Shostakovich Sinfonie Nr. 14 (Sony)
DVDs
2024: Richard Wagner Tristan und Isolde (Monarda)
IMPORTANT CONDUCTORS
René Jacobs
Simon Rattle
Pierre Boulez
Kirill Petrenko
Claus Peter Flor
Ivo Hentschel
IMPORTANT DIRECTORS
Andreas Homoki
Barrie Kosky
Christof Loy
Simon McBurney
Marco Arturo Marelli
IMPORTANT PARTS ELSEWHERE
Rocco (Leonore, Festspielhaus Baden–Baden)
Doctor Bartolo (Le nozze di Figaro, Opéra national du Capitole)
Timur (Turandot, Bregenzer Festspiele)
Mephisto (Faust, Opera Hong Kong)
Arkel (Pelléas et Mélisande, Staatstheater Darmstadt)
Title role in Eugen Onegin (Wiener Staatsoper)
EXCURSIONS
Solist (Jeanne d’Arc au bûcher, Elbphilharmonie)
Concert tour with the Berliner Philharmoniker (BeethovensSinfonie Nr. 9)
Schumann, Szenen aus Goethes Faust (Teatro all Scala di Milano)
AT THE KOMISCHE OPER BERLIN
Pope (Lady Macbeth von Mzensk)
Lindorf (Hoffmanns Erzählungen)
Sarastro/Sprecher (Die Zauberflöte)
Ariodate (Xerxes)
Escamillo (Carmen)
Wassermann (Rusalka)
As of October 2025
Dimitry Ivashchenko
HOMELAND
Russland
STUDY
Singing at M. I. Glinka State Conservatory in Novosibirsk
Further training at Staatliche Hochschule für Musik in Karlsruhe
CDs
2012: Richard Wagner Parsifal (PentaTone Classics)
2015: Wolfgang Amadeus Mozart Die Entführung aus dem Serail (harmonia mundi)
2017: Ludwig van Beethoven Sinfonien 1–9 (Studio Marek Polewski)
2019: Ludwig van Beethoven Leonore (harmonia mundi)
2019: Shostakovich Sinfonie Nr. 14 (Sony)
DVDs
2024: Richard Wagner Tristan und Isolde (Monarda)
IMPORTANT CONDUCTORS
René Jacobs
Simon Rattle
Pierre Boulez
Kirill Petrenko
Claus Peter Flor
Ivo Hentschel
IMPORTANT DIRECTORS
Andreas Homoki
Barrie Kosky
Christof Loy
Simon McBurney
Marco Arturo Marelli
IMPORTANT PARTS ELSEWHERE
Rocco (Leonore, Festspielhaus Baden–Baden)
Doctor Bartolo (Le nozze di Figaro, Opéra national du Capitole)
Timur (Turandot, Bregenzer Festspiele)
Mephisto (Faust, Opera Hong Kong)
Arkel (Pelléas et Mélisande, Staatstheater Darmstadt)
Title role in Eugen Onegin (Wiener Staatsoper)
EXCURSIONS
Solist (Jeanne d’Arc au bûcher, Elbphilharmonie)
Concert tour with the Berliner Philharmoniker (BeethovensSinfonie Nr. 9)
Schumann, Szenen aus Goethes Faust (Teatro all Scala di Milano)
AT THE KOMISCHE OPER BERLIN
Pope (Lady Macbeth von Mzensk)
Lindorf (Hoffmanns Erzählungen)
Sarastro/Sprecher (Die Zauberflöte)
Ariodate (Xerxes)
Escamillo (Carmen)
Wassermann (Rusalka)
As of October 2025
1. Which opera character have you learnt the most from (and what)?
A key role in my early career was Sarastro in Die Zauberflöte. As a young, Russian-speaking singer, I faced the challenge of delivering German dialogue convincingly – a task that pushed me to my limits. Through intensive collaboration with my director, I learned that a text is more than just words: it has subtext, inner emotion, and unspoken thoughts. This experience has had a lasting impact on my understanding of interpretation.
2. What do you sing when no one is listening?
When no one is listening, I love to sing songs from Frank Sinatra’s repertoire – »New York, New York«, »Strangers in the Night«, or »My Way«.
3. What profession would you have today if you hadn’t become a singer?
As a child, I really wanted to become a police officer. I probably would have become one if I hadn’t become an opera singer. I have a deep sense of justice and order, which is very important to me both personally and professionally.
4. Which artistic experience changed everything for you?
It’s hard to say which artistic experience truly changed my life, because music has been a part of my life since childhood. But I remember very well a concert I attended with my mother: Georgian song and dance. That energy, those voices – it made a deep impression on me and has stayed with me to this day.
5. What do you do after the performance?
After a performance, I need some quiet time first. I prefer to do absolutely nothing – I try to clear my head and enjoy that quiet, empty moment. It’s a very special feeling.
A key role in my early career was Sarastro in Die Zauberflöte. As a young, Russian-speaking singer, I faced the challenge of delivering German dialogue convincingly – a task that pushed me to my limits. Through intensive collaboration with my director, I learned that a text is more than just words: it has subtext, inner emotion, and unspoken thoughts. This experience has had a lasting impact on my understanding of interpretation.
2. What do you sing when no one is listening?
When no one is listening, I love to sing songs from Frank Sinatra’s repertoire – »New York, New York«, »Strangers in the Night«, or »My Way«.
3. What profession would you have today if you hadn’t become a singer?
As a child, I really wanted to become a police officer. I probably would have become one if I hadn’t become an opera singer. I have a deep sense of justice and order, which is very important to me both personally and professionally.
4. Which artistic experience changed everything for you?
It’s hard to say which artistic experience truly changed my life, because music has been a part of my life since childhood. But I remember very well a concert I attended with my mother: Georgian song and dance. That energy, those voices – it made a deep impression on me and has stayed with me to this day.
5. What do you do after the performance?
After a performance, I need some quiet time first. I prefer to do absolutely nothing – I try to clear my head and enjoy that quiet, empty moment. It’s a very special feeling.