"Black Eyebrows, Brown Eyes" Ukrainian Song - Discovery CD - track 10 - ORDER CD

Misha Didyk has emerged as one of opera's most exciting  tenors. Since making his debut in North America with the Opera Company of Philadelphia in a gala event "Grand Opera's Greatest Hits" where he appeared with opera `superstars' Samuel Ramey, Denyce Graves and Jerry Hadley, he has gone on to sing the title role in Werther, the Duke of Mantua in Rigoletto, and Tebaldo in I Capuleti ed i Montecchi with the company. He has also appeared in North America with the New York City Opera as Rodolfo in Puccini’s La Boheme and the Duke of Mantua, Opera Pacific as Rodolfo in La Boheme, and Pinkerton, Michigan Opera Theater as Alfredo in La Traviata, the Opera de Puerto Rico as Pinkerton in Madama Butterfly, Marseille Opera as Rodolfo, Avignon Opera as Riccardo in Un Ballo in Maschera, the New Israeli Opera as Duke of Mantua and in Göteborg, Sweden as Gherman in The Queen of Spades .

Misha Didyk began his career in his native Ukraine as a soloist with the National Opera of Ukraine, where he sang Lensky in Eugene Onegin, Alfredo in La Traviata, the Duke in Rigoletto and Gherman in The Queen of Spades. Shortly afterwards he began to receive invitations from the Bolshoi Theatre in Moscow and Mariinski Theater in St. Petersburg as Alfredo in La Traviata and made an impressive international debut at the Finnish National Opera as  Lord Percy in Anna Bolena.

In 2005, he made auspicious debuts with Teatro alla Scala, Milan and the San Francisco Opera as Gherman in Tchaikovsky’s `The Queen of Spades’ – the part that became one of his signature roles. Misha returned to Gothenburg as Pinkerton and Liege as Carlo Moor in Verdi’s  I Masnadieri. In 2006 Misha appeared in Copenhagen in the title role of Werther and returned to the San Francisco Opera as Charles VII in Tchaikovsky's Maid of Orleans and des Grieux in Puccini's Manon Lescaut  with Karita Mattila.

In 2007 he took the role of Cavaradossi in three different productions of Tosca for the Royal Danish Opera, for the Teatro de la Maestranza in Seville and at the Greek National Opera, and  the role of Gherman with the Vlaamse Opera in Antwerpen and Ghent.

In  2007  Misha recorded the part of Paolo in  Francesca da Rimini and in 2008 the part of Albert in The Miserly Knight by  Rachmaninoff with Gianandrea Noseda and the BBC Philharmonic for Chandos Records

The 2007/2008 season brought the unique experience, strength and great success in two very different roles. Ruggero Lastouc in Puccini’s La Rondine, performing opposite Angela Gheorghiu for the project Opera for Cinema, at the San Francisco Opera and the profoundly  psychological Alexey Ivanovich in Prokofiev’s The Gambler  (based on  Dostoyevsky’s story) at Teatro alla Scala and Staatsoper Unter den Linden Berlin with Daniel Barenboim. Both roles were recorded for DVD. In 2009 he performed the role of Alexey Ivanovich in the new production of `The Gambler’ at Opéra National de Lyon.

Misha Didyk is a graduate of the National Academy of Music where he studied in the class of National Artist of the USSR Vassily Tretiak and National Artist of Ukraine Timokhin, and Professor Z. Lichtman, He has also studied with Professor Anna Maria Bondi at the Opera de la Bastille in Paris and with Eugenia Miroshnichenko, of the Ukraine's most prominent singer.




Opera Pacific: Un Ballo in Maschera ( Avignon, May 2004)

Forum Opera
Avignon 11/05/04

Il en faut de la conviction dans la voix pour s'avouer un amour reciproque sans se regarder, face au public, a dix metres l'un de l'autre, a chaque angle d'une scene. Il en faut de l'emotion pour que, maigre tout, on soit bouleverse par le message. C'est pourtant ce que reussissent Manon Feubel (Amelia) et MISHA DIDYK (Gustav III, Roi de Suede) quand ils se declarent leur flamme aupied da l"arbre des pendus ou pousse la mangragore.

Le jeune tenor ukrainien MISHA DIDYK (1) (Gustav III, Roi de Suede) complete cette brilliante distribution, Jusqu'ici peu connu sous nos latitudes, vocalement elegant, puissant, son aisance dans le phrase le projette dans la distinction du role. Comme sa compagne de scene Manon Feubl, MISHA DIDYK delaisse les gestes imperieux pour donner a se seule voix le soin de "dire" le texte lyrique.

Opera Pacific: Madame Butterfly ( November 2003)

The following is excerpted from Peter Lefevre's review in the Orange CountyREGISTER of the second performance of Butterfly:

"Rafael Suarez, originally set to alternate with Ukrainian tenor Misha Didyk in the role of Pinkerton, was scratched from the show. There were plenty of rumors but no substantial reason to doubt the spokesman for Opera Pacific who cited "medical reasons" for Suarez's absence.

Regardless, the decision placed Didyk in the unenviable position of singing the full run.

As for Didyk - who was the equivalent of a pitcher going on two days' rest - he sounded strong and brassy throughout. Maybe the fatigue will catch up to him later in the run, but I suspect not. He paces himself well. On Wednesday his consonants sounded crisp, his tone amply supported. The details you might expect to lose were still there. A very efficient and impresssive performance, with plenty of force and clarity at the end."

Gothenburg, Sweden: Queen of Spades ( September 2003)

The tenor Misha Didyk is most convincing as Herman. Through absolute sensitivity of tone he catches the two sides of the part, the combination of total insecurity and total obsession. Without using any expressionistic exaggerations free reins are given to the romantic, which provides air and space to the voice.
Magnus Haglund GoteborgsPosten 15.09.03

At this point Herman’s part grows into its maximum, carried in a completely convincing way by questing tenor Misha Didyk from Ukraine (evidently a ground for great singing - voices). His light voice sounds magnificently, keeping itself in full intensity all the way up in the register, most rarely heard today. He also develops the soft sides of his role, the hesitance, the resignation, the glowing love and the extravagant intoxication in his madness of gambling. His sudden death is not what the librettist had expected…
Jan-Axel Axelsson Boroas Tidning 16.09.03

The Ukrainian tenor Misha Didyk made an excellent stage personality of Herman and was also for this part a splendid choice of singer from the opera management. In the final of the second act and at the beginning of the third act two of them (including Marianne Schell as the old countess) contributed in creating an intensive music drama of very high quality.
Sven Andersson Hallands Nyheter 19.09.03

The performance holds an impressing vocal standard throughout with the cast toppedby the Ukrainian tenor Misha Didyk – who to the splendor and brilliance of hisvoice adds credibility as well as insight and expressiveness full of nuances.
Jan Hoakaansson Hallandsposten 17.09.03



What can one say about this tenor? If not that his very beautiful air, expressing a rare refinement, an elegance and an astonishing ease, which, in the case of a Verdi interpreter, was justifiably hailed by unanimous applause on the part of the many spectators at the Premiere, all of whom considered it a general triumph.
`La Marseillaise' No 3255 (Dimanche (Sunday) 27 Janvier (January) 2002), Marseille

Puerto Rico

What we did not expect was the magnificent performance given by Russian tenor Michael Didyk. His gigantic, powerful, and very well controlled lyric voice which has inside a dark, burnished tone reminiscent of a big Russian Orthodox Cathedral Bell. His top notes are solid and his middle register is short of astonishing. Add to this really dashing good looks, and good stage presence and we have the makings of a truly great operatic singer.

If an enterprising local opera nut were to start here a Michael Didyk Fan Club, he or she would probably find many would be subscribers. I may even consider joining it myself. Jorge Martinez Sola (Star Music Critic)
The San Juan Star - Saturday. May 13, 2000.


Tenor Michael Didyk who played the part of Percy, Anna's lover in her youth, was also greatly acclaimed - he was brilliant in both acting and singing. The audience was bowled over from the first short cavatina in Act I! HELSINGIN SANOMAT, November 29, 1998 (photos)


Michael Didyk was a paragon of tenoral power
TURUN SANOMAT, November 30, 1998

La Traviata was rapturously received.
Opera Now' November/December, 1998 (photos)




Misha Didyk won the Taras Shevchenko State Award in Ukraine in 1998 and the title of the "National Artist of Ukraine" 1999.




©Misha Didyk all rights reserved. Design by TechnoMOSAIC,LLC