CD “The 5 Countertenors”

“[...] Mynenko steals the limelight with his sheer pizzazz. His first track is Crude furie, which has been done a hundred times, it’s true (he sang it in the 2009 final of the Cardiff Singer of the World competition), but he does it immensely well. It drips with disdain and, complete with a wrathful sweep of ornamentation in the da capo section, from soprano to baritone, it made for a royal tantrum worth remembering. But even this risks being overshadowed by Mynenko’s other track, J.C. Bach’s Ch’io parta? from Temistocle. This is a slow-building dramatic treat, whose menacing beginning flourishes into splendour with a full-throated orchestra, complete (to my inexpressible delight) with hunting horns.”
The Idle Woman, 19.03.2015 (original article)
“Yuriy Mynenko is one of the foremost discoveries of recent seasons. With a bright timbre and exceptional comfort in music of fiendish difficulty, he promises to make an enduring impact in the realm of countertenor singing. His negotiation of the punishing pyrotechnics of the title character’s ‘Crude furie degl'orridi abissi’ from Händel’s Serse [...] is sure of intonation and rhythmic accuracy, and the gleaming edge on the tone aids him in creating a sharp dramatic profile in the duration of a single aria. [...] The stirring ‘Ch'io parta?’ is delivered by Mr. Mynenko with consummate gusto and vocal freedom. Like Mr. Yi and Mr. Sabadus, he brings to his work a soft-grained voice anchored by an impenetrably strong technical foundation, and he succeeds in appealingly conveying the swaggering masculinity of the music without hardening his lovely tone quality.”
Joseph Newsome, Voix des Arts, 02.05.2015 (original article)
“Mynenko is a thrilling vocal actor and his clarion Crude furie degl orridi abissi from Handel’s Serse is the album’s most obvious knockout. His other aria from JC Bach’s Temistocle is nearly as electrifying.”
Clive Paget, Limelight Magazine, 13.08.2015 (original article)

Megabise in “Artaserse” by L. Vinci in Paris, France

“The fifth counter-tenor, in the more minor role of co-conspirator, Megabise, was Yuriy Mynenko. Here again was a fine young counter-tenor singing with poise and control in the alto tessitura. He too offered the power and darker quality of a high tenor, but has been described in the past as a male soprano. A colleague noticed Mynenko has 'a more dramatic colour than Fagioli at times.' Certainly he sounds consistently like a man... one man. He won the Song Prize in the 2009 Cardiff Singer of the World Competition and has been heard singing Handel in the UK. I imagine on a platform where he is the only counter-tenor, he really shines.”
Miranda Jackson, Opera Britannia, 07.01.2013 (original article)

Corrado in “Griselda” by A. Vivaldi in Santa Fe, USA

“It was too bad about “mysterious Corrado” getting only two arias, since countertenor Yuri Minenko, who portrayed this “man in the middle” counselor, was the only person in the cast who combined elegant, agile vocalism with a sense of period musical style. His voice is small but handsome, his technique immaculate. He projects just enough to be heard clearly, but he demands that listeners give him their complete attention. In a production in which most of the characters flounced about with awkwardness that could border on the irrational, Minenko maintained a dignified bearing even while wearing what came close to a pastel green leisure suit.”
James M. Keller, The New Mexican, 17.07.2011 (original article)
“[...] it was a matter of some musical concern as to who was the greatest countertenor on stage: the always fabulous David Daniels as Roberto or the perhaps even more fabulous Yuriy Mynenko as Corrado. Mynenko revealed a stunning array of vocal colors from one end of the scale to the other.”
David Gregson, Opera West, 19.08.2011 (original article)
“Yuri Minenko makes the most of Corrado’s brief role with a mezzo of directness and accomplished technique.”
James Sohre, Opera Today, 27.08.2011 (original article)

Solo recital in Washington D.C, USA

“[...] when Mynenko shifted into a work from his own time and language — “Farewell, o world,” by the contemporary Ukrainian composer Valentin Silvestrov — any awkwardness vanished and the recital rose to an entirely new level. This was extraordinary singing in every way, and was followed by an equally moving a capella account of the Ukrainian national song — leaving little doubt that Mynenko is a talent to keep an eye on.”
Stephen Brookes, The Washington Post, 09.10.2010 (original article)

BBC Cardiff Singer of the World in Cardiff, Wales

“Yuriy Mynenko is a 30-year-old Ukrainian male soprano who commands a staggering virtuosity and power which puts him in another league to the slender counter-tenors of the English choral tradition. My guess, indeed, would be that he sounds closer to the legendary castrati than anything that’s been heard since Napoleon abolished “the cut” two centuries ago.
Mynenko’s phenomenal voice is married to rock-solid technique, sensitive musicianship and stylistic intelligence. There was no sense of a grotesque falsetto stunt in his singing: his interpretations had real depth. In a melancholy aria by Broschi, he brought a lump to my throat; in the runs of “Crude furie” from Handel’s Serse he was simply dazzling; and in Rossini’s “Di tanti palpiti”, he showed that he was more than capable of entering the bel canto repertory.”
Rupert Christiansen, The Telegraph, 15.06.2009 (original article)

Concert “From Baroque Europe to Classical Russia” in London, England

“The concert was memorable [...] for the introduction to London of a thoroughly accomplished prize-winning singer. Yurii Minenko, a mellifluous counter tenor, fitted in well with the group’s prevailing style, negotiating Handel’s decorations easily within the melodies, without over-emphasising his skills. JSB’s Erbarme dich out of context was duly moving. With a pleasing appearance and dignified platform manner, he will surely be seen and heard on the international opera circuit before long.”
Peter Grahame Woolf, Musical Pointers, February 2006 (original article)

The VI International competition for young opera singers named after N. Rimsky-Korsakov

“[...] counter-tenor Yury Minenko, a finalist, is being seriously considered for the role of Ziebel in a forthcoming staging of Gounoud’s Faust at the Vienna State Opera, Ioan Holender, the company’s director and a member of the contest’s jury, said.
“Usually the role is sung by a mezzo-soprano, so inviting a counter-tenor would be a departure from tradition. But it is not impossible, and the singer is definitely worth a look,” Holender said. “Minenko demonstrated a rare beautiful timbre, a captivating stage presence and strong technique. He was born to perform baroque music.”
Galina Stolyarova, The St.Petersburg Times, 19.11.2004 (original article)