Shostakovich Symphony #13 - McGill Symphony Orchestra (Nov-Dec 2012)

Le Montréalais Taras Kulish a la lourde responsabilité du solo basse. Il s'y défend remarquablement, adoptant les placements vocaux des grandes basses russes qui ont enregistré l'oeuvre et apportant aux textes une prononciation exacte et une réelle compréhension.

Translation: Montrealer Taras Kulish had the heavy responsibility of the solo bass part. He executed it remarkably, adapting the vocal capacities of the big Russian basses who recorded the work, and brought to the text an exact pronunciation and a real understanding of it.
Claude Gingras - La Presse

Solos by bass Taras Kulish were dark and resonant...diction was so clear that the listener got the sense of Yevtushenko's harrowing reflections on the massacre at Babi Yar without reading the translation (and transliteration) provided.
Arthur Kaptainis - The Gazette

Rigoletto - OPERA HAMILTON (Oct 2012)

Bass-baritone Taras Kulish doubled as a blustery sounding, white-wigged Count Monterone and the black clad, Russian Mafioso-like thug Sparafucile.
As the latter, Kulish’s lengthy low F at the end of scene 3 was well-focused and could have cut through the thickest fog.
Leonard Turnevicius - Hamilton Spectator

The murderous team of bass Taras Kulish as Sparafucile, and his pole-dancing seductress sister sung by Lauren Segal are powerful contributors
to the success of this operatic version. Both are credible....Kulish’s Mohawk, swagger and the business card offering are all performed with aplomb.
Ontario Arts Review - Danny Gaisin

Falstaff - OPÉRA DE QUÉBEC (May 2012)

Jeremy Blossey and Taras Kulish played the parts of Falstaff's followers with just the right amount of burlesque and naïveté.
Opera Canada - Irène Brisson

Il Trovatore - OPERA HAMILTON (April 2012)

Taras Kulish commanded attention as Captain Ferrando.
Leonard Turnevicius - Hamilton Spectator

Salome - Opéra de Montréal - (March 2011)

Montreal bass-baritone Taras Kulish, director of the Green Mountain Opera Festival,
had real presence, vocally and theatrically, as the first soldier.
Times Argus, Jim Lowe

The rich, resonating voice of the first soldier, bass Taras Kulish, was a treat.
He is artistic director of the Green Mountain Opera Festival in Vermont.
This young singer should be given meatier roles., Earl Arthur Love

Ruslan & Ludmilla - Opera in Concert - (Toronto fall 2010)

Taras Kulish, the veteran bass-baritone with a big, smoothly executed range, was very comfortable as Ruslan,
bringing great clarity of diction and grand attention to detail to his character.
Opera Canada, G.C.

Roberto Devereux - Opéra de Montréal - (November 2010)

<<Seul Taras Kulish noble Raleigh, les servants et le choeur meritent de figurer sur la merne scene que Theodossiou et Dolgov.>>

Translation: Only Taras Kulish the noble Raleigh, the servants and the chorus deserve to be on the same stage as Theodossiou and Dolgov.
Le Devoir, Christophe Huss

<<Montreal bass Taras Kulish, director of central Vermont's Green Mountain Opera Festival,
had the small role of Sir Walter Raleigh but sang with power and conviction.>>

Times Argus, Jim Lowe

Don Giovanni - Orchestre Métropolitain (July 2010)

<<Chapeau a Taras Kulish (Leporello) et Alexander Dobson (Don Giovanni), absolument parfait pour les rôles.>>

Translation: Hats off to Taras Kulish (Leporello) & Alexander Dobson (Don Giovanni), both absolutely perfect in their roles.
Bob Auguste (

<<...Son agile voix de baryton se marie bien à celle de Taras Kulish, le baryton basse qui interprète Leporello.
Ce dernier, en véritable faire-valoir de Don Giovanni, finit presque par être plus attachant que lui.>>

Translation: His agile voice blends well with that of Taras Kulish's, the bass-baritone who performed Leporello.
As Don Giovanni's believable sidekick, he (Taras) ends up being more sympathetic than the Don., Geneviève Tremblay

<<Alexander Dobson est un Don Juan très vif et plein de séduction, avec une voix superbement timbrée.
Une vraie carrière s'annonce là. La même très haute note va à Taras Kulish.
Habituellement relégué à des emplois mineurs, ce chanteur a révélé en Leporello,
l'omniprésent valet de Don Juan, des dons de comédien qu'on ne lui connaissait pas.>>

Translation: Alex Dobson is a vibrant Don Giovanni full of seduction, with a well placed voice. A big career is forecasted.
The same very high praise goes to Taras Kulish. Usually seen in smaller roles,
this singer revealed in the omnipresent valet of the Don, a talent for acting that we were not aware of.
La Presse, Claude Gingras

L'Elisir d'amore - (concert version) Southminster Music and Charity Community concerts (Feb 2010)

However the highlight of the performance was the pure delight which Taras Kulish took in the “Doctor” Dulcamara role.
He overcame the sentimentality of the plot with the pure joy he took in hoodwinking the “country bumpkin”,
all the while keeping his audience aware of the plot with asides delivered in quality bass-baritone tones!
National Capital Opera Society newsletter - Ute Davis

L'eau qui danse, la pomme qui chante et l'oiseau qui dit la vérité
World premier opera by Gilles Tremblay - Chants Libres (Montreal) - Nov. 19, 2009

<<Une douzaine en tout, sont presque tous d'un haut niveau comme chanteurs et comme comédiens....
Mention spéciale à Marie-Annick Béliveau, Marianne Lambert, Claudine Ledoux, Anne Saint-Denis et Taras Kulish.>>

Translation: A dozen soloists, almost all of which are at a high level as singers and actors...
Special mention goes to Marie-Annick Béliveau, Marianne Lambert, Claudine Ledoux, Anne Saint-Denis and Taras Kulish.

La Presse, Claude Gingras

Opera excerpts concert at Barre Opera House (March 7, 2009)

Artistic Director Taras Kulish, a fine bass-baritone"

"The audience’s favorite, no surprise, seemed to be the beloved duet, Au fond du temple saint, from Bizet’s Pearl Fishers.
Kulish, with his rich dark sound, and Antoine Belanger’s light and lyrical tenor contrasted as well as blended sensitively and sensually.
With pianist Claude Webster’s clear and responsive accompaniment, it brought down the house."

"Kulish delivered the dark Russian power of Gremin’s aria from Tchaikovsky’s masterpiece, Eugene Onegin.
In contrast, Kulish was light and deft in Figaro’s Non più andrai from Mozart’s The Marriage of Figaro."
Times Argus, Jim Lowe

Ariadne auf Naxos - Calgary Opera (January 2009)

"One of the best scenes in the opera is the interruption of the lamenting Ariadne by the Italian players in the second part.
The quartet of clowns was a source of much fun throughout the opera, not only for their singing but for their clever antics on stage,
all handled with a sure sense of how to make the comic element come across. Taras Kulish was especially good as the bass Truffaldino."
Calgary Herald, Kenneth Delong

Falstaff - Edmonton Opera (April 2008)

"The secondary roles are well cast, canny singers and actors who vie for attention -- everyone is looking to ham it up.
Falstaff's' two underlings -- Bardolfo (Michel Corbeil) and Pistola (Taras Kulish) -- work as Moe and Larry to Falstaff's Curly.
A succession of slapped heads, pulled noses and swats with a broom between the three make for great Three Stooges hilarity."
Edmonton Journal, Tom Murray

Don Giovanni - Opera Lyra Ottawa (November 2007)

"This is Opera Lyra's best production in two years, thanks mostly to its superb ensemble of singers.
Taras Kulish as Giovanni's buffoonish servant Leporello was excellent, possessing a strong rich voice and an entertaining personality"
Ottawa SUN, Denis Armstrong

"The cast was strong and well rounded. Leporello was interpreted with poise and comic moderation by Taras Kulish."
The Ottawa Citizen, Richard Todd

"Le Leporello de Taras Kulish mérite éloges et respect. Il apporte à cette production un jeu étincelant et une voix d’une fraîcheur irrésistible. Son air du catalogue est une véritable leçon de chant; quel chatoiement et quels contrastes entre les deux mouvements de l’air. On sent la préoccupation de bien informer dans le premier et l’indifférence de celui qui en a vu d’autres dans le second. Le timbre est chaleureux et épouse admirablement les nuances si délicates uniquement suggérées par la musique elle même. Chanter Mozart c’est un peu recréer son œuvre en raison de la liberté qu’il laisse aux interprètes. Taras Kulish se montre digne de la confiance que le maître lui accorde."

Translation: Taras Kulish's Leporello merits praise and respect. He brings to this production sparkling acting and a voice of irresistable freshness. His catalogue aria is a true voice lesson; what shimmer and contrast between the two movements of the aria. We feel the preocupation of informing in the first half and the indifference of one of who has seen many in the second half. His timbre is warm and he admirably marries all the delicate nuances suggested by the music itself. To sing Mozart is like recreating the work because of the liberty he leaves to the interpreters. Taras Kulish is worthy of the confidence the master bestows upon him., Réal Boucher

Eugene Onegin - Montreal Symphony Orchestra (August 2007)

"Montreal-born bass Taras Kulish, in his short walk-on roles as a Captain and as Lenski's friend, Zaretsky, was also always 'on', always connected to his fellow performers."
Globe and Mail, Alan Conter

Bass Taras Kulish was an amusing Captain."
Montreal Gazette, Arthur Kaptainis

"Taras Kulish, Ren
ée Lapointe et les choeurs ont tenu leurs rangs sans failles."

Translation: Taras Kulish, Renee Lapointe and the chorus held their own without fail.
Le Devoir, Christophe Huss

Ariadne auf Naxos - Vancouver Opera (March 2007)

"Taras Kulish as Truffaldino and Phillip Addis as Harlequin perform admirably in the Vancouver Opera production of Ariadne auf Naxos."
The Vancouver Courrier, Louise Phillips

"The supporting roles showed off the vast array of talent that VO can draw upon. All played an important part in
making the whole such a success, including Taras Kulish (Truffaldino) and Peter Blanchet (Brighella).
Opera Canada magazine, Christopher Darling

Samson et Dalilah - Opera Ontario (January 2007)

"Taras Kulish was a sturdy Abimelech"
Hamilton Spectator, Leonard Turnevicius

Bass Taras Kulish as Abimélech gets to sing one aria (“Ce Dieu que votre voix implore”) in Act I and is disposed of by Samson.
Even so, Kulish gives a fine accounting of himself and the aria.
The Greek Press, James Karas

"In the support roles, which are brief but pivotal, Taras Kulish, bass, was a credible Abimelech, who dies at Samson’s hand"

La Cenerentola - Calgary Opera (November 2006)

"The comic roles of the father (Taras Kulish) and the two stepsisters were also well sung and acted.
Kulish's three big buffo arias were fully up to Rossini's considerable demands, and the comedy side was also effective."
The Calgary Herald, Kenneth DeLong

St. John Ambulance fundraiser at the Ritz Carlton Ballroom (January 2006)

"Assembled four of the country's greatest young opera singers - sopranos Gianna Corbisiero and Mariateresa Magisano,
tenor Marc Hervieux and bass-baritone Taras Kulish. All were absolutely captivating and guests hung on every perfectly lyrical note."
The Gazette, Jennifer Campbell

Montreal Symphony Orchestra - Nielsen's 3rd Symphony (January 2006)

"Taras Kulish's rich bass-baritone quietly emerged, adding to the work's broad color spectrum."
Times Argus, Jim Lowe

Concert at Winnipeg's OSEREDOK Ukrainian Cultural Centre (November 2005)

"It was a jewel of an evening - a sold-out select crowd, brilliant accompanists, an elegant setting
and a singer with a voice you could listen to forever.
The bass-baritone (Taras Kulish) was powerful in the arias, and lyrically romantic and gentle in the Vesolovsky songs."
The Ukrainian Weekly, Orysia Tracz

Rigoletto - Opera Lyra Ottawa (April 2004)

"Montrealer Taras Kulish, in the role of Sparafucile, gave an excellent dramatic interpretation. He sang and acted with appropriate conviction,
and his well-rounded, powerful bass-baritone must have rung out to the far reaches of the balcony."
Opera Canada, Earl Love

"Taras Kulish was solid in the role of Monterone and terrific as Sparafucile"
The Ottawa Citizen
, Richard Todd

"Taras Kulish interprète Monterone et Sparafucile avec grande intelligence. Son Monterone est sombre à souhait et musicalement splendide.
Son portrait de meurtrier à gage est particulièrement saisissant avec, dans le jeu et dans la voix, une pointe d'ironie trahissant l'habitude du "métier"."
Translation: "Taras Kulish interprets Monterone and Sparafucile with great intelligence. His Monterone is dark as one can wish and musically splendid.
His portrayal of the hired
assassin is particularly enticing with, in both his acting and his voice, an irony betraying the habits of the business"., Réal Boucher

"Le Couple bourguignon assassin, formé par Taras Kulish et Julie Nesrallah, fut engageant et vocalement excellent"
Translation: "The assassin couple from Bourgogne, made up of Taras Kulish and Julie Nesrallah, was engaging and vocally excellent"
Le Droit, Jean-Jacques Van Vlasselaer

"Agathe Martel made a terrific debut as the tormented Gilda. So too did Taras Kulish as Sparafucile"
The Ottawa Sun, Denis Armstrong

La Cenerentola - Opera Saskatchewan (February 2004)

Taras Kulish (Don Magnifico) turned in a solid comic performance, smoothly moving from master of the house to cowed repentant at the end."
Opera Canada, Richard Ewen

Don Giovanni - Manitoba Opera (November 2003)

"Paired up with the Don is his servant, the buffoon Leporello. Taras Kulish literally steals the show in his portrayal of the Don's foil.
His acting is top-notch and his sense of comic timing is impeccable
. A real chemistry between Kulish and Mattsey propels the opera along from start to finish"
Winnipeg Free Press & Opera Canada Magazine
, Andrew Thompson

Il Barbiere di Siviglia Opera Saskatchewan (February 2003)

"Both basso Mark Freiman, as Bartolo, and bass-baritone Taras Kulish, as music teacher Don Basilio, are excellent"
Leader-Post, David Green

Aïda - Vancouver Opera (October 2002)

" Taras Kulish as the King of Egypt has a bass as rich and dense as Guiness Stout"
Vancouver Courier, Louise Phillips

Don Giovanni - France & Belgium (summer & fall 2002)

"Taras Kulish et Latchezar Lazarov qui interprète respectivement Don Giovanni et Leporello, sont tous deux extraordinaire", Anne-Sophie Mehl
'Taras Kulish and Latchezar Lazarov who interpret respectively Don Giovanni and Leporello, are both extraordinary'

"Le phrasé impéccable de Don Giovanni (Taras Kulish) a séduit...un jeune chanteur plein de promesse...un succès populaire"
The impeccable phrasing of Don Giovanni (Taras Kulish) seduced....(he is) a young singer full of promise...a massive success'

"Mention spéciale au basse-baryton canadien Taras Kulish dans le rôle titre...Cheverny séduit par Don Giovanni"
'Special mention to the Canadian bass-baritone Taras Kulish in the title role...Cheverny was seduced by Don Giovanni'

"Don Giovanni séduit Cheverny. Le séducteur Don Giovanni alias Taras Kulish, n'a pas failli à sa renommée,
le basse-baryton canadien n'aura de cesse d'assouvir son désir de conquête."
Don Giovanni seduces Cheverny. The seductor Don Giovanni alias Taras Kulish did not fail his reputation,
the Canadian bass-baritone has no end to appeasing his desir of conquest.'

Recital - Music at Grazhda Festival, New York (summer 2002)

"It is a rare experience to be enveloped by the stentorian tones of bass Taras Kulish, whose musical lines convey
vast illumination within a vibrant timbre. Kulish has the ulitmate gift and never flaunts it. It serves his sensibility as a genuine poet
with the empathetic capacity to experience depths of a text and draw his listeners into its
profundly realized sentiment via the evocative incidental beauty of his voice.

Kulish's delivery of the Don's 'Chanson de la Mort' was hackle-raising .
In a preceding number he flashed charm and bite in 'Non Piu Andrai'. He rolled up the house
with 'Old Man River', a basso's bass song cried in passion with awsome tone"
The Daily Freeman, Kitty Montgomery

Le Nozze di Figaro - Vancouver Opera (October 2001)

"Taras Kulish's interpretation of Figaro was spellbinding, both in stage presence and in the variety of tonal colours in his singing."
The Georgia Straight, Kerry Regier

"As Figaro, Montreal native Taras Kulish has a gallant edge to his free and open baritone voice as well as charisma to burn."
The Courier, Robert Jordan

"As Figaro, Taras Kulish acted adroitly and sang with energy"
Opera Canada, Floyd St.Clair

Le Trouvère ( french version Il Trovatore) - Festival Lanaudière

"Le jeune Taras Kulish, en Fernand, le capitaine de la garde, a fait admirer
une riche voix de basse et une diction impeccable."

La Presse, Claude Gingras

Translation: 'The young Taras Kulish, as Fernand, the captain of the guard, made us
admire his rich bass voice and an impeccable diction.'

IL Trovatore - Opera Lyra Ottawa

"Taras Kulish (Ferrando) sang with gusto and assurance."
Opera Canada, Earl Love

"La prestation du baryton-basse montréalais Taras Kulish (Ferrando), en dialogue avec le choeur d'hommes dans la magnifique scène d'ouverture, donne le goût de l'entendre davantage. Son Ferrando était plus qu'une promesse: c'est déjà l'accomplissement de la promesse."
'The portrayal of  Montreal bass-baritone Taras Kulish (Ferrando) in dialogue with the men's chorus in the magnificent opening scene, gives the taste of wanting to hear more of him.
His Ferrando was more than promise:
it is the accomplishment of the promise.'
La Scena Musicale, Pierre Bellemare

Opera Concert - Minnesota Orchestra

"The strongest singer was Bass-Baritone Taras Kulish...had both the sparkle for Rossini's
'La Calunnia' from Barber of Seville and the swagger for the 'Toreador Song' from Bizet's Carmen."

Saint Paul Pioneer Press
, William Randall Beard

Don Giovanni - Aspen Music Festival (summer 1997)

"The humorous side of the opera comes out magnificently with bass Taras Kulish as Leporello, the don's raffish servant.
Kulish has a real flair for this role, delivering one of the best I've heard"

Denver Post
, Glenn Giffin

Don Giovanni - Vancouver Opera

"By far the strongest male voice belongs to Taras Kulish, who as the manservant Leporello
offers a beautiful bass-baritone adept at naturalistic phrasing, especially in the famous
Catalogue Song where he lists the Don's amorous conquests to a dejected Elvira."

Vancouver Courier
Louise Phillips

"As his whining sidekick, Leporello, Bass-Baritone Taras Kulish was in top form as he nailed the character
with deft, but never overdrawn, touches of humour."

The Georgia Straight
, Douglas Hughes

"Well, 2 065 boudoirs anyway, according to Leporello's catalogue, enumerated so deftly by Taras Kulish
in the delightful aria 'Madamina'. In the opera itself, Leporello doesn't seduce bevies of hopeless
smitten women like Giovanni but with a hearty bass-baritone like Kulish's, he probably could."

, Robert Jordan

"There were particularly splendid performances, both musically and dramatically from Taras Kulish as Leporello."
Vancouver Sun, Christopher Dafoe

"Taras Kulish, who plays Don Giovanni's servant, Leporello, provides all of the comic relief,
but also manages to bring some depth to the character."
Ubyssey press, Jaime Tong

The Messiah - Edmonton Symphony

"This left Taras Kulish as the most satisfying soloist of the evening…he filled in for a Polish baritone who canceled.
Kulish, from Montreal, was thus singing his first Messiah and performed with great intensity and eye contact.
He has a splendid craggy voice, and a fine sense of drama."  

Edmonton Sun
, John Charles

The Messiah - Vancouver Bach Choir and Vancouver Symphony

"Montreal born bass, Taras Kulish, created a beautifully rich sound"  
Vancouver Sun
, Tara Wohlberg

Beethoven's 9th Symphony - Victoria Symphony

"The soloists were a well-matched quartet, with Taras Kulish suitably arresting at his first entry."
Times Colonist, Deryk Barker

Don Giovanni - Pacific Opera Victoria (spring 1999)

"As Giovanni's servant and alter ego, Leporello, Taras Kulish was a perfect theatrical and vocal foil to Morscheck,
his hearty bass-baritone voice booming with joviality while he reveled in the role's many comedic possibilities."
 Globe & Mail, Robert Jordan

"Taras Kulish's Leporello was equally driven, in an underdog kind of way, but his impressive projection and rich timbre in no way settled for second place.
A dynamic actor, Kulish breathed new life into a role already brimming with potential."
 Opera Canada, Katherine Syer

"Don Giovanni's servant Leporello, played by baritone Taras Kulish, gets most of the laughs
and, on Saturday night, the loudest applause."  

Victoria News
, David Lennam

"Bass-Baritone Taras Kulish's Leporello combines a good vocal technique with a talent for physical comedy."
Monday Magazine, Ian Cochran

"The cast is anchored by a fine Don Giovanni and Leporello.... baritone Taras Kulish possesses a vibrant, lively voice.
This combined with dynamic stage direction, imbues his devilish shenanigans with style and vivacity.
On Thursday Kulish's crisp, spirited singing was paired with witty stage tricks."
Times Colonist, Adrian Chamberlain

Aïda - Edmonton Opera

"And the accompanying roles were a pleasure, too, particularly Taras Kulish as the King."

Aïda - Calgary Opera

"Bassos Stefan Szkafarowsky as Ramfis and Taras Kulish as the King rounded out the main cast,
both singers sonorous and stereotypically male."  

Calgary Herald
, Kenneth DeLong

Il Trovatore - Calgary Opera

"Aside from Graham, the best singer was Taras Kulish (Ferrando), who displayed
a vibrant, high-quality voice and comfort on stage."  

Opera Canada
, Kenneth DeLong

La Bohème - Edmonton Opera

"Taras Kulish continues what has been a most impressive Edmonton series of performances as Colline - joining the overall vivacity of his mates,
and making the most of his brief solo, Vecchia Zimarra."
 Edmonton Journal, D.T. Baker

"Koch's Marcello is a splendid, virile fellow and he has a lovely baritone. But, so does Taras Kulish as Colline,
so the hearty bohemian buddy scenes are delightful. Kulish delivers his 'coat' aria with great feeling and honesty."
Edmonton Sun, John Charles

Le Nozze di Figaro - Opera Saskatchewan

"These are talented actors in addition to gifted singers whose marvelous voices are in perfect harmony
with the orchestra. This production benefits tremendously from the chemistry between Taras Kulish,
who is endearing in the role of Figaro, and Monique Pagé (Susanna)."  

, Nick Miliokas

"In the title role, Taras Kulish sang and performed well in his Regina debut."
Opera Canada
, Richard Ewen

A Midsummer Night's Dream - Aspen Music Festival

"Taras Kulish brought exemplary diction and a warmly masculine bass-baritone to Bottom,
also charming the audience with his thespian antics."

Opera News
, Glenn Giffin

"Bass-Baritone Taras Kulish excelled as Nick Bottom"
Denver Post, Jeff Bradley