GENNADI DUBINSKY

Gennadi Dubinsky possesses one of the most extraordinary bass voices to be heard in Australia.

He was born and educated in Russia and, in the 1980s, was a soloist with both the State Theatre of Operetta and Moscow State Concert organization performing major roles in Kalman’s Circus Princess, Strauss’ Die Fledermaus and Ptichkin’s Women’s Revolt.  During this period, Gennadi performed in many concerts and frequently appeared on radio and television.

In 1992, Gennadi Dubinsky moved to Australia and, since that time, has built up an impressive list of musical and acting credits.  He has appeared as soloist with the SBS Youth Orchestra, the Sydney Concert Orchestra and many clubs and entertainment centres.  For many years, Gennadi was a featured artist on Opera Afloat – a nightly performance of operatic highlights performed on the waters of Sydney Harbour.

Gennadi was a featured member of the Showstoppers troupe starring Maggi Scott which won the Mo Award in 1998 for ‘Best Show of the Year’.  He has also performed his one-man show in the style of Ivan Rebroff winning praise for his interpretation both of operatic arias and Russian songs.  Gennadi has toured this show to Russia and Turkey.

His rich, sonorous instrument promises future success in the bass operatic field.  In 2007, he covered leading roles in Il trovatore and Don Giovanni for Opera Australia.  The following year, Gennadi sang Sarastro in The Magic Flute and Timur in Turandot for Opera Queensland and covered major roles in Rigoletto for State Opera of South Australia.

In 2009, Gennadi Dubinsky was a full-time soloist with Opera Australia singing Ramphis in Aida, Lorenzo in I Capuleti e i Montecchi and The Priest in Lady Macbeth of Mtsensk.  In 2010 and 2011, he performed in La fanciulla del West, Le nozze di Figaro, Macbeth and Rigoletto for the national company and sang Bartolo in Le nozze di Figaro for New Zealand Opera in Auckland and Wellington. 

In 2012, Gennadi Dubinsky appeared as soloist with the Sydney Symphony (in Pique Dame), Sydney Philharmonia (in Carmen) and the Sydney Conservatorium of Music (in Verdi’s Requiem); he also remained a member of the Opera Australia principal ensemble.

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