Reviews

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."
Forumopera.com, Réal Boucher

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.

---

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, Renée Lapointe et les choeurs ont tenu leurs rangs sans failles."
Le Devoir, Christophe Huss
Translation: Taras Kulish, Renee Lapointe and the chorus held their own without fail.

---

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"
haltonartsreview.com

---

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".
Forumopera.com, 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)

"Le phrasé impéccable de Don Giovanni (Taras Kulish) a séduit...un jeune chanteur plein de promesse...un succès populaire"
Translation: ' 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"
Translation: '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."
Translation: 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."
Translation: '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

A Midsummer Night's Dream - Aspen Music Festival (1997)