BIO
Der türkische Bassbariton Oğulcan Yılmaz war von 2018 bis 2020 Mitglied im Opernstudio der Bayerischen Staatsoper und war dort zuletzt im September 2020 als Lothario in Ambroise Thomas’ Mignon zu erleben. Weitere Partien an der Bayerischen Staatsoper waren u.a. Ibn-Hakia (Iolanta), José Castro (La fanciulla del West), 2. Brabantischer Edler (Lohengrin) und Muff (Die verkaufte Braut).
An der Staatsoper in Ankara war er 2015 in der Titelpartie von Le nozze di Figaro und 2016 als Tobia Mill in Rossinis La Cambiale di Matrimonio zu erleben. 2016 gastierte er beim Rossini Opera Festival in Pesaro als Lord Sidney in einer Produktion von Rossinis Il viaggio a Reims, die musikalisch von Alberto Zedda erarbeitet wurde. Darüber hinaus erhielt er im Rahmen des Festivals Unterricht bei Juan Diego Flórez und war in mehreren Konzerten zu hören.
Sein weiteres Repertoire umfasst Partien wie Falke (Die Fledermaus), Dr. Malatesta (Don Pasquale) und Dulcamara (L’elisir d’amore) sowie die Titelpartie in Don Giovanni.
Oğulcan Yılmaz wurde in Cankaya geboren und absolvierte sein Studium am Hacettepe Konservatorium in Ankara.
(März 2021)
Reviews
Vaudèmont in Iolanta at Cuvilliés-Theater in Munich
Nous avions déjà fait l’éloge l’an passé du ténor Long Long : cette fois, il joue les premiers rôles, et son Vaudémont est un rêve de musicalité et d’expression, sans qu’il lui soit nécessaire de surjouer les héros romantiques. resmusica.com
The third Prize at Tenor Vinas Singing Contest in Barcelona
…the Chinese Long Long who sang (with a dark voice and a lot of vocal and even gestural expressiveness) Faust's cavatina and the tremendous scene of Roberto in Puccini's Le Villi ('Torna ai felici dì' with the dangerous recitative included) reveals a lyrical tenor with body. < translated by @AIMARTISTS >
Various
…und der chinesische Tenor Long Long, dessen Stimmvolumen an Heldentenöre Richard Wagners erinnert, besangen die sonnige italienische Weise von Liebesbeschreibungen. Überaus expressiv ließ Long mit authentischer Theatralik beim Anbeten der Geliebten in Puccinis Che gelida manina aus La bohème die Gänsehaut frösteln.
Nach einer Arie aus George Bizets Carmen hatte Long Long bei Arien aus Verdis Meisterwerk Rigoletto weitere imposante Auftritte. La donna è mobile schmetterte er mit solcher inbrunst, dass manch ein originaler italienischer Tenor dagegen verblassen dürfte. Memminger Zeitung
L'elisir d'amore
Schaunard in La bohème
L'elisir d'amore
Schaunard in La bohème
Macbeth
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