V1988. EVGENYI NESTERENKO, w.Vladimir Munin Cond. Moscow State Chamber Choir: Songs by Gretchaninov, Hristow, Strumsky, Dinev & Chesnokov. (Russia) Melodiya 10 01701, recorded 1985, Smolensk Cathedral. Gatefold Edition. [A remarkably beautiful and noble recital from this exceptionally rich bass.] - 4600317117017
"The works on this disc are by Grechaninov, Hristov, Strumsky, Dinev and Schenokov. The Bulgarian music featured was based on ancient Bulgarian church tunes. Hristov is the most significant of these Bulgarian composers and was the director of the St. Alexander Nevsky Cathedral in Sofia.
Nesterenko has sung over 80 leading bass parts and performed 21 operas in their original languages. He performed the main parts in operas by Glinka, Mussorgsky, Tchaikovsky and Borodin, and was the first to perform many works by Shostakovich, Sviridov and Taktakishvili.
Nesterenko's enormous repertoire ranges from deep bass to baritone parts in operas by classical Russian and West-European composers. His finest rôle is considered to be Tsar Boris in Mussorgsky's opera BORIS GODUNOV, which won him the ‘Golden Viotti’ medal in Italy in 1981.
Nesterenko has performed on the world's most prestigious stages, such as the Metropolitan Opera, Covent Garden, the Vienna State Opera and La Scala. He has been awarded the highest Austrian, Italian, German and Russian awards for his singing.”
- Zillah Dorset Akron
“Every so often an occasion of sheer delight comes along to reward a weary critic in spite of his sins. The recital this evening by the veteran bass Yevgeny Nesterenko…did nothing to soft-pedal areas of risk, however, offering bold, generous, full-blooded interpretations….Indeed, it was remarkable how few allowances had to be made in the demanding and varied repertory that followed, and they were made gratefully in view of the prevailing lofty level of artistry. In some ways the Rachmaninoff interpretations were the most touching, with the bass achieving a lovely half-voice….the most striking example of Mr. Nesterenko's masterly control of messa di voce, as he summoned a sonority of almost unbelievable fullness.”
- James R. Oestreich, THE NEW YORK TIMES, 20 Aug., 1990