(SIMONE BOCCANEGRA, Munich, Germany)
„Vitalij Kowaljow (Fiesco) mit balsamischem, schwarzen Bass – ein betörender Racheengel, mit ungeheurer Präsenz und selbst in der Priesterverkleidung mit bühnenbeherrschendem Charisma“

„Einen solchen Fiesco kann man sich dagegen nur erträumen. Schwärze, Intensität, verhaltenes Pathos, auch Lyrismen: Vitalij Kowaljow ist die Bass-Entdeckung der Saison.“

„A su lado Vitalij Kowaljow crea un Fiesco no menos convincente en lo estilístico y en lo musical. Es de destacar la 'claridad musical' dentro de la oscuridad tímbrica de su voz. El contraste entre su Fiesco y el Boccanegra de Lucic está perfectamente logrado“

(NABUCCO, Covent Garden, London)
„Vitalij Kowaljow as Zaccaria reveals a bass voice blessed with great depth, security and aesthetic refinement“, musicOMH, April 3.2013, Sam Smith

„Vitalij Kowalijow sang Zaccaria with great intensity. His High Priest is a force to be reckoned with, inspired as he is by his profound faith.“ Opera Today, March 31.2013, Anne Ozorio
„The other powerhouse in the cast was fellow Ukranian Vitalij Kowaljow, who sang the high priest Zaccaria. It’s another imposing, authoritative role and Kowaljow certainly made his presence felt. The eloquence and feel for Verdi’s flowing vocal lines were all there.“ Bachtrack, March 31.2013, David Karlin
„Ukranian bass Vitalij Kowaljow presented a younger than usual Zaccaria, his lighter voice still sounding noble. His prayer in Part II (‘Tu sul labbro’) was a model of nobility, aided by fine support from the orchestra’s cellos.“ Opera Brittania, Mrach 31.2013, Mark Pullinger

(IOLANTA, concert tour Europe)
"Doch einer übertrifft alle seine Kollegen: Vitalij Kowaljow als König René, Iolantas Vater. So dunkel ist sein Bass nicht, doch umso klangreicher. Eine Stimme, die aller Nuancen vom Piano bis zum Forte fähige ist, ungemein sauber geführt. Als Wotan konnte er ebenfalls schon überzeugen und ist aus gutem Grund international gefragt. Auch an diesem Ausnahme-Abend bietet er Gesangskultur vom Feinsten. Eine Glanzleistung, umgehend mit Beifall belohnt."
Berlin, Der neue Merker November 14. 2012, Ursula Wiegand

„Ainsi Vitalij Kowaljow, doté d’une voix à la fois puissante et souple, fait merveille en roi René, souverain déchiré, tour à tour autoritaire et paternel.“
Paris, Res Musica, November 29. 2012, Andreas Laska

Koning René, Iolanta’s vader, voegde daar in de volgende scène de nodige opwinding aan toe door het liefdesspel ruw te onderbreken. Vitalij Kowaljow deed dat schitterend, met zowel een enorme kracht in zijn diepe Slavische bas als een warme compassie voor het lot van zijn dochter. Een prachtrol, imponerend vertolkt door een prachtbas.“
Amsterdam,, November 8.2012, Jordi Kooiman

(LA FORZA DEL DESTINO, Teatro del Liceu, Barcelona)
"Realmente sorprendió, para bien, el buen hacer de Vitalij Kowaljow como Padre Guardiano. Una voz de bajo cantante sin artificios, con una línea de canto homogénea. Un acierto pleno para este reparto. Dan ganas de escucharle en algún Verdi de mayor enjundia, como el Fiesco que tiene previsto en Munich o el Zaccaria que hará en Londres y en Milán. No en vano, Kowaljow no ha salido de la nada: fue el Wotan de La Valquiria de La Scala hace tres años, por ejemplo, así como el Wotan, en 2010, de los "Anillos" de Dresde y Los Ángeles. Una voz a tener en cuenta, pues."
Alejandro Martínez,, October 8. 2012

„Ukrainian bass Vitalij Kowaljow left an excellent impression as Padre Guardiano. He is a good singer with a very attractive, remarkably homogenous voice.“ J.F. Laurson, October 21.2012, Seen and Heard International

Fiesco LA V Kowaljow klein 2

"Vitalij Kowaljow sang Jacopo Fiesco, Boccanegra’s implacable nemesis, with lustrous power and dignity" Los Angeles Times, February 12.2012

„Fiesco, was given tremendous gravitas by bass Vitalij Kowaljow“ Seen and heard, February 24.2012

"Back in the Chandler is Kowaljow, who played Wotan in 2009's Ring Cycle. In that avant-garde production he was hardly allowed to act, but here he brings a sympathetic gravity, along with wonderful and deep bass notes, to the role of Amelia's adopted father and Boccanegra's rival. "
LA Downtown News, February 16.2012

„Kowaljow war mit jeder Faser seines Körpers der strenge Patrizier, unbeugsam, unnahbar, eine moralische Autorität. Die Stimme dazu fast etwas zu lyrisch, hier ist man ältere, härtere Stimmen gewohnt. Seine ZU schöne Stimme sollte aber kein Nachteil sein: Wunderbar verinnerlicht sang er seine Auftrittsarie, was für ein Genuss, auch noch die tiefsten Töne mit solchem Wohllaut zu hören!“
Der neue Merket, Margit Rihl,

Kowaljow has become a familiar presence in California since his debut at the Los Angeles Opera several years ago. Even though his voice seems tailored for the Verdian bass roles, he has proved equally effective in performing the three Wotan roles in Wagner’s “Ring of the Nibelungs” (Los Angeles Opera, 2009-2010), Pimen in Mussorgsky’s “Boris Godunov (San Diego Opera, 2007, San Francisco Opera, 2008), Frere Laurence in Gounod’s “Romeo et Juliette” (Los Angeles Opera, 2011) and Alfonso d’Este in Donizetti’s “Lucrezia Borgia” (San Francisco Opera, 2011).
Kowaljow’s Fiesco, as expected, was the commanding presence in the opera’s prologue, with a sonorous and authoritative presentation of arguably the opera’s most famous aria Il lacerato spirito.
Operawarhorses Febr. 13.2012

Fiesco LA Dom & Kow klein

(LUCREZIA BORGIA, San Francisco)
Excellente prise de rôle pour l’ Alfonso de Vitalij Kowaljow, présent, scrupuleux (un portrait brossé à traits vifs), au baryton dynamique, opulent, parfois outrancier, comme il sied à l’ époux de Lucrezia.
Hervé Le Mansec, 5.10.2011 Resmusica

"Kowaljow, a tremendous bass." SFexaminer

"The real star of the evening was bass-baritone Vitalij Kowaljow, who gave a thrillingly robust and commanding account of the all-too-brief role of Duke Alfonso, Lucrezia's jealous husband. When Kowaljow made his first appearance at the beginning of Act 2, it was as if the entire performance moved into three dimensions." Joshua Kosman, September 26. 2011 SF Chronicle

"Kowaljow has appeared triumphantly at all three of California’s major opera companies, including singing Wotan in the performances of the 2010 Los Angeles Opera’s mounting of Wagner’s “Ring of the Nibelungs). His sonorous Alfonso shows that he is as adept in the operas of Donizetti as he is in those of Verdi, Wagner and Mussorgsky." Opera Warhorses

"The most gratifying performance was that of Vitalij Kowaljow as Duke Alfonso. Having heard him as a powerful and gloomy Wotan from La Scala's Walküre, I didn't imagine him to be so at ease in a bel canto role. As soon as he started singing, it was clear that he was going to be the highlight of the evening."
5.10.2011, Marina Romani,


(DON GIOVANNI, CD-recording, Baden-Baden)
„Den Komtur sang Vitalij Kowaljow mit mächtigem, kultiviertem Bass.“
Opernglas 09/2011 JM Wienecke

Le Commandeur de Vitalij Kowaljow est une révélation qui donne sens à son « sento l’anima partir » et propose une mort sublime avant d’entraîner Don Giovanni dans l’au-delà. 

Catherine Jordy, 24.7.2011,

(Aida, Covent Garden 2011)
„Kowaljow`s Ramfis was imposing and extremely well sung.“
Hugo Shirley,

„Vitalij Kowaljow was an impressive, black.voiced Ramfis.“
Financial Times, March 14.2011

„The manipulative high priest Ramfis found Vitalij Kowaljow`s bass instantly recognizable for its evil malevolence.“
Kevin Rogers,

(La Boheme Film)
„Vitalij Kowaljow ist der ausgezeichnete Collie.“
Renate Wagner, Der neue Merker, 28.10.2009

(La Boheme CD)
„As for the supporting man, I will single out Vitalij Kowaljow, the Ukrainian bass who is Colline. He sings his brief aria, „Vecchia zimarra“, with due gravity and pathos“
New York Sun, Jay Nordninger, June 16. 2008

(Simon Boccanegra)
„ and Vitalij Kowaljow, a basso cantate who deserves his place in the lustrous annals of great basses who have sung Fiesco Grimaldi in San Francisco. „ December 31, 2008, William's Reviews, Operawarhorses

(Boris Godunov)
„Bass Vitalij Kowaljow, fresh from his superlative turn as Fiesco in September's "Simon Boccanegra," gave a weighty, gorgeously precise performance as the monk Pimen.“ Joshua Kosman, Friday, October 24, 2008 San Francisco Chronicle

„However, those wishing to hear a youthful basso cantate singing Mussorgsky were treated to the Pimen of Vitalij Kowaljow. Kowaljow displayed a rich, sonorous bass as Pimen.
In fact, in the second act scene in which Prince Shiusky (John Uhlenhopp) brings Pimen to Boris to relate the story of the monk Grigori’s mischievous decision to topple the Tsar, one had the sense of the passing of the torch from one of the most impressive operatic bassos of the past 35 years to a leading member of a new generation.“ November 9th, 2008, Opera Warhorses

(Simon Boccanegra)
"The guy who absolutely stole the show: Vitalij Kowaljow, the grand-dad of Amelia and enemy of Simon. His bass voice as the depth of an abyss, and he carried around his dignified distress convincingly. We could not help but focus on him in all the scenes where he shared the stage. " September 6, 2008

„But the dominant presence of the Prologue is Fiesco, whose great basso aria Il lacerato spirito is the first important set piece of the opera. Before Vitalij Kowaljow, only six men had performed Fiesco for the San Francisco Opera - Ezio Pinza (1941), Boris Christoff (1956), Giorgio Tozzi (1960), Martti Talvela (1975), Cesare Siepi (1980) and Samuel Ramey (2001). Since these six are among the most important operatic bassos of the past seven decades, one might ask - whether or not the question is a polite one - whether Kowaljow could be considered as in the same league.
I believe that the answer is affirmative. Kowaljow is one of the rising basso cantate stars of this decade, with a beautiful bass voice, sonorous throughout the bass range, and particularly suited to Verdi’s music.“ Opera Warhorses,William's Reviews, September 29, 2008

"The most arresting performances, though, came from the heavies, especially bass Vitalij Kowaljow as Jacopo Fiesco (Boccanegra's political rival and would-be father-in-law - again, don't ask). His solo in the Prologue, "Il lacerato spirito" - sung with a potent blend of vocal weight and emotional transparency - was a high point." Joshua Kosman, San Francisco Chronicle, September 8, 2008

(La Bohème C.D.)
"As for the supporting men, I will single out Vitalij Kowaljow, the Ukrainian bass who is Colline. He sings his brief aria, "Vecchia zimarra," with due gravity and pathos." (La Boheme C.D.)
New York Sun, Jay Nordlinger,| June 16, 2008

„in schöner Ebenmäßigkeit der Bass-Stimme nimmt VITALIJ KOWALJOW Abschied von der „vecchia zimarra“. (La Boheme C.D.) Ingrid Wanja, orpheus Oper, 9.+10 2008

„Vitalij Kowaljow trägt seinen vielbesungenen Colline-Mantel zu Recht.“ (La Boheme C.D.)
Die Welt, Manuel Brug, 8.Mai 2008

(Eugene Onegin)
„The bass Vitalij Kowaljow, a Ukrainian Samuel Ramey, brings the greatest Russian sensibility of the evening to Prince Gremin's sole aria, the Act Three paean to Tatyana, whom he has married during Onegin's wanderings.“ Chicago Sun Times, Andrew Patner, March 3, 2008

(I Puritani)
„In Bellinis I Puritani ist auch eine Entdeckung zu machen. Vitalij Kowaljow, ein junger Bass aus der Ukraine mit internationalen Engagements, besitzt jenes slawische Timbre, das so selten geworden ist. Die Stimme hat Kraft und Schönheit, Wärme und gute Schulung, starken Ausdruck und Charakter.“ ÖSTERREICH/ Karl Löbl, 17.September 2007
„Der ukrainische Bassist Vitalij Kowaljow gefiel mit weichem, rundem Bass und überraschend gefühlvollem Gesang.“ Oper in Wien, Dominik Troger

(I Medici)
„Assolutamente eccellente Vitalij Kowaljow come Francesco Pazzi: un basso ucraino dal bellissimo timbro ricco di gravi armoniosi, l’ottima pronuncia e la dizione impeccabile.“ Marilisa Lazzari, Operaclick July 13.2007

(La Forza del Destino)
„Kowaljow’s voice is a rich, expressive basso cantante, a powerhouse, with seemingly endless reserves of focused sound throughout the range, whether at full fortissimo or sustained piano. In Forza, I didn’t just hear his voice, I felt it — a rare experience in an opera world increasingly populated with smaller and mid-weight voices. And Kowaljow brought much more. His superb musicianship and impeccable legato enabled him to spin out the Verdi line effortlessly, while his unaffected delivery of the text underscored the character’s humanity and humility. „ Dan Rosenbaum, Opera News, September 2006

(I Vespri Siciliani)
„As Procida, Vitalij Kowaljow seemed to do everything right. This is a bass voice of uncommon elegance and belongs to a singer with a real future.“ Bernard Holland, New York Times, September 19, 2005
„The most impressive performance on opening night belonged to Ukrainian bass Vitalij Kowaljow as Procida. He is a real rival to such world-class singers as Sam Ramey and Alan Held. Unlike the American bass-baritones, however, Mr. Kowaljow is a true bass, one of the most difficult and thankless vocal roles in opera, frequently buried as it is in the fabric of the music, or overshadowed by the other soloists. Verdi provides Procida with some of the opera's most stirring arias, as Mr. Kowaljow proved right off the bat during his impressive hymn to Palermo, which opens the second act. Well supported and with a laser-like intensity, his clear voice negotiated Verdi's difficult demands, effortlessly providing the audience with one of the most deeply satisfying performances by a bass in recent memory.“ T.L. Ponick, Washington Post, September 19, 2005

„Some of the enthusiasm seemed warranted. Vitalij Kowaljow, who had made his U.S. debut under the same auspices three years ago, imbued Caspar with booming black tone, an easy semblance of evil intensity and a sure command of the German text. Even in a formal concert setting, the Ukrainian bass exuded theatrical menace.“ Martin Bernheimer, Financial Times / June 10, 2005

(Don Carlos)
"Excellent" would be an understatement to describe Vitalij Kowaljow’s King Philip: the Ukrainian bass revealed a voice of outstanding beauty and power.“ Bernard Jacobson, S & H International May-Aug 04 Opera Review, Opera in Philadelphia

(Les Vepres Siciliennes)
Le Procida de Vitalij Kowaljow a remporté un succès mérité.“
Marie-Aude Roux, 21.06.03, Le Monde.