Baritone Aleksey Bogdanov is celebrated for his powerful voice and compelling stage presence, earning acclaim across major opera houses worldwide. His 25/26 season includes debuts with The Atlanta Opera in Götterdämmerung (Alberich/Gunther cover) and San Diego Opera in Carmen (Escamillo), as well as returns to San Francisco Opera for Rigoletto (Il Conte di Monterone), The Metropolitan Opera for Arabella (Mandryka cover), and Lyric Opera of Chicago for Salome (Erster Nazarener/Jochanaan cover). Future seasons include a return to his home company, San Francisco Opera.
In the 24/25 season, he made his debut with Pacific Symphony in a staged production of Das Rheingold (Donner), and returned to The Metropolitan Opera for Die Frau ohne Schatten (Der Einäugige) and Pique Dame (Tomsky cover), San Francisco Opera for Un ballo in maschera (Renato cover) and Tristan und Isolde (Kurwenal cover), Palm Beach Opera for Roméo et Juliette (Capulet), and The Glimmerglass Festival for The Rake’s Progress (Nick Shadow). On the concert stage, he appeared with the Cathedral Choral Society in Ethel Smyth’s Mass in D and with The Clarion Choir in Rachmaninoff’s Spring Cantata.
Recent operatic highlights include debuts at Gran Teatre del Liceu in Les Contes d’Hoffmann (Crespel/Luther), Royal Swedish Opera in La fanciulla del West (Rance), and performances of Tosca (Scarpia) with companies including Kaohsiung Philharmonic Cultural & Arts Foundation, Palm Beach Opera, Austin Opera, and Hawaii Opera Theatre. He has also sung the title role in Rigoletto with Nashville Opera and Central City Opera; Madama Butterfly (Sharpless) with Tulsa Opera; Aida (Amonasro) with Boston Youth Symphony Orchestras; Tiefland (Sebastiano) with Sarasota Opera; La fanciulla del West (Rance) with Opera Carolina; and Hérodiade (Vitellius) with Washington Concert Opera.
Additional engagements include Lohengrin (Telramund cover) at San Francisco Opera, Tosca (Scarpia) at Arizona Opera, The Nose (Kovalyov) in a new Francesca Zambello production at Chicago Opera Theater, Un ballo in maschera (Renato) at Maryland Lyric Opera, and Silent Night (Lt. Horstmayer) at Washington National Opera. He made his Metropolitan Opera debut in Boris Godunov (Shchelkalov).
On the concert stage, Bogdanov has performed Verdi’s Requiem and Boris Godunov (Shchelkalov) with San Diego Symphony under Michael Tilson Thomas, Gurre-Lieder (Peasant/Narrator) with KBS Symphony Orchestra, Rachmaninoff’s The Bells with the Cathedral Choral Society at Washington National Cathedral, A Hand of Bridge (Barber) with Baltimore Symphony Orchestra, Verdi’s Requiem with Colorado Symphony and The Phoenix Symphony, and Messiah with Richmond Symphony.
A graduate of the Cafritz Young Artist Program at Washington National Opera, he performed over 100 times with the company in roles such as Carmen (Escamillo), Hansel and Gretel (Peter), Le nozze di Figaro and Don Giovanni (title roles), Così fan tutte (Guglielmo), L’elisir d’amore (Belcore), Madama Butterfly (Sharpless), and Appomattox (George Wallace). He made his Glimmerglass Festival debut in Carmen (Escamillo), a signature role he has since performed with The Atlanta Opera, Opera Theatre of Saint Louis, and Columbus Symphony Orchestra. He later returned to Glimmerglass for Madama Butterfly (Sharpless) and Picker’s An American Tragedy (Samuel Griffiths).
Other notable performances include his Canadian debut in the title role of Eugene Onegin with Edmonton Opera, and his Carnegie Hall debut as bass soloist in Messiah. He has appeared as soloist in Mozart’s Requiem at Place des Arts (Montréal), Beethoven’s Fidelio with the National Symphony Orchestra, Castelnuovo-Tedesco’s Romancero Gitano at Palau de les Arts Reina Sofia and Teatro Baretti di Torino, Dvořák’s Te Deum and Janáček’s Glagolitic Mass at the Basilica of the National Shrine, and the Requiems of Mozart, Fauré, and Duruflé at Washington National Cathedral.
2025-2026
