Alexander Kisselev was born in Cheliabinsk, Russia.
Graduated from the Moscow Tchaikovsky state conservatory in 1996.
His many awards include the First prize at the International Singing Competition in Johannesburg in 1995, the Chaliapin Prize at the Glinka Competition in 1995, the First Prize at the International Vocal Competition of the Bolshoi Theatre in 1997, the Third prize of Tchaikovsky Competition in 1998 in Moscow. Also he was a finalist of Placido Domingos Operalia-1996 and the winner of the First prize at International Singing Competition of Albanese-Puccini foundation in 2003.
Between 1994 and 1995 he was a principal at the New Moscow Opera and from 1995 to 1998 at the Stanislavsky Theatre in Moscow. Since 1998 he has been a principal at the Bolshoi Theatre, Moscow, with which company he has given performances in London (1999), Seoul (1999), Trieste (2001), Ravenna (Ricardo Muti Festival, 2000), Hong Kong (2002).
He also has made guest appearances in Zagreb, New York, Paris, Hague, Prague (Festival Pragues Autumn, 2001), Berlin (the part of Boris Godunov in Deutsch Oper) among other cities.
His first recording was in Shostakovich's operetta "Cheriomushky" following a concert performance under Gennadi Rozhdestvensky with the Residentie Orchestra of the Hague for Chandos. This was followed by Nabokovs Ode in 2001 with the same orchestra under Vladimir Polyansky also following concerts for Chandos.
Press quotes Alexander Kisselev, Bass:
Onegin, Canadian Opera Company, April 08
Russian bass-baritone Alexander Kisselev was a dignified Prince Gremin, Tatyana's elderly and aristocratic husband, and his big Act Three aria about love in old age was one of the evening's musical treats. Ken Winters, The Globe and Mail, 04.04.08
Prince Gremin (sung by bass Alexander Kisselev in a fine performance.) John Coulbourn, Toronto Sun, 04.04.08
These principles (including fifth business bass Alexander Kisselevs Prince Gremin, who shows up in the third act as Tatyanas new husband) all shine as actors
But vocally, the sound was uneven. Only Polegato and Kisselev seemed able to sing over conductor Sir Richard Armstrongs direction with any ease. John Keillor, National Post
Bass Alexander Kisselev made nice work of Prince Gremin's lone aria.
John Terauds, Toronto Star, 03.04.08
Boris Godounov (Pimen), Opera du Rhin, June 07
Alexander Kisselev est un magnifique Pimène, dune parfaite homogénéité des registres, témoignant dune formidable palette de coloris et de dynamique, du fortissimo tonnant au susurrement. Extraordinaire « diseur », il se montre passionnant de bout en bout dans ses trois longs monologues du premier acte qui, avec dautres interprètes, peuvent savérer de redoutables tunnels. Michel Tome, Resmusica 20.6.07
Bonheur aussi avec les churs, solides et fort beaux (avec notamment dimpeccables Petits Chanteurs de Strasbourg) et certains chanteurs dont lirréprochable Pimène dAlexander Kisselev Pierre-Emmanuel Lephay, Forum Opera 15.6.07
Alexander Kisselew als in strömender Ruhe lyrisch erzählender Pimen. f. Kurt Witterstätter Klassik.com, 15.6.07
Wenn ein so kompetentes Ensemble, inklusive Orchester unter Hans Graf, rekrutiert wird - allen voran die Bässe, John Tomlinson in der Titelrolle, Alexander Kisselev als Pimen und Vladimir Matorin als Warlaam. mas Rothschild, Financial Times Deutschland, 19.6.07
The Execution of Stapan Razin / The Bells, BBC National Orchestra of Wales, St Davids Hall, Cardiff, 17 Nov 06
In the solo bass role, which combines descriptive narrative with the words of the hapless hero, Alexander Kisselev was also compelling, suggesting his tenacity and sheer force of character right up to the bitter end The resonant Kisselev outsang tenor Dmitri Voropaev and soprano Elena Goshunova Rian Evans, The Guardian, 23.11.06
Beethoven Missa Solemnis, Puerto Rico, February 2005
El Bajo Ruso Alexander Kisselev canto con gran naturalidad y solida y profunda voz, muy wusical y Hermosa (The Russian bass, Alexander Kisselev, sang with great naturalness and aa solid and profound voice, very musical and beautiful El Nuevo Dia, San Juan Puerto Rico,14.2.05
Nabucco, Helikon Opera, November 2004
'Dans ce «plateau», et au chapitre des pleines satisfactions: Alexander Kiselev (Zaccaria), archétype de la basse russe puissante, ample, profonde, souveraine' Edouard Bailly, ResMusica, 22.11.04
The Tsars Bride, Helikon Opera, November 2004
'Alexander Kiselev (Sobakin), déjà remarqué, lui aussi, dans sa parfaite interprétation de Zaccaria, dans un récent Nabucco.'
Edouard Bailly, ResMusica.com 01.12.04
Boris Godunov, USA, with Bulgarian company, March 2003
Most remarkable were the two Bolshoi basses alternating as Boris and Pimen Alexander Kisselevs Pimen had a more elegant vocal technique I wanted to hear him in Verdi and a subtler, modern style of acting. I felt an almost mystical presence. The following night he was a more inward Boris, torn apart to the point of madness
Teatro Lirico brought us not just one but two sensational singers Lloyd Schwartz, Boston Phoenix, 27. 3.03
As the monk-historian, Pimen, Alexander Kisselev had a brighter focus on his bass and sang with bel canto virtues. Tonight the two exchange roles Richard Dyer, Boston Globe, 29.3.03
A good chunk of the credit for the shows success goes to the Boris, Alexander Kisselev, who not only possessed a stern, direct voice, but, with his Goya esque, elongated face, looked quite imposing as well.' Daniel Schlossenberg, New York News Day, March 2003
Kisselev sang with warmth, elegance and flexibility.
John Pitcher, Democrat and Chronicle, 24.3.03
Verdis Requiem, Royal Scottish National Orchestra, May/June 2002
'delivered a remarkably rich and vibrant performance as did his bass counterpart, Alexander Kisselev, whose sonorous tones rang out over the finely balanced orchestral accompaniment.' Tanya Dawn McLellan, The Scotsman, 27.5.02
'a characterful and strong voice.' James Allen, Daily Telegraph, 12.6.02
Pragues Autumn, 2000
l the two key scenes of Mussorgskys Opera Boris Godunov sounded in the concert. Kisselev, soloist of the Great Theatre in Moscow and starring in this part of the evening demonstrated an impressive, cultivated and exiting voice Pravo, 15.9.01
London debut in Boris Godunov with the Bolshoi Opera, August 1999
'Among much raw vocal material, none was more impressive than the vital, well focused young bass of Alexander Kisselev as Pimen.' Richard Fairman, Financial Times, 05.08.99
'Alexander Kisselev's chronicler monk Pimen sings with immaculately even tone.' Tom Sutcliffe, Evening Standard, 04.08.99
'...irresistible power and passion.' Rupert Christiansen, Daily Telegraph, 05.08.99
'...well fixed portrait...' Stephen Walsh, The Independent, 05.08.99
'The casting was in extraordinary, inspiring depth...Alexander Kisselev's grave Pimen had the authentic edge to his bass...' Rodney Milnes, The Times, 05.08.99
'Alexander Kisselev's Pimen had grave solemnity, and was clearly a figure who had seen a bit of history in his time.' John Allison, Opera Magazine, 10.99
