"The first compliment to be made to this performance is...to the role of the police officer, Nikita Storojev, rendered with rich flavour and designed with exact precision”
~ Corriere della sera 06.06.07. - critique for Lady Macbeth of Mtsensk in Teatro alla Scala
"With his robust bass and animated phrasing, Nikita Storojev was quite the scene-stealer in the Shakespearean-like, comic relief role of the monk Melitone.” ~ The SUN 10.08.07. - critique for La Forza Del Destino in Baltimore Opera.
“In general, the level of singers was excellent, particularly Nikita Storojev in the role of the Police Officer”
~ ConcertoNet.com, The Classical Music Network 06.03.06. - critique of Shostakovich’s Lady Macbeth of Mtsensk, Amsterdam Opera
"Always an opera-stopping moment, the comedic appearance of the Police Sergeant and his squad of bumbling policemen was even more so with the Russian bass Nikita Storojev, who brought tongue-in-cheek humor and voluminous, stentorian sound to the scene." ~ Opera News, March 2006 – critique for Shostakovich’s Lady Macbeth of Mtsensk, Austin Lyric Opera
"...bass Nikita Storojev as the water gnome projected powerfully and pleasantly..." ~ Dallas Morning News 09.04.05. – critique for Dvorak’s Rusalka, Dallas
“Nikita Storojev stood out in two cameo roles as the Chief of Police and the Old Convict.” ~ Washington Post 03.03.03 – critique for Shostakovich’s Lady Macbeth of Mtsensk, Baltimore Opera"Russian-trained basso Nikita Storojev was the exception. His communicative style and sustained sense of drama maintained the Requiem's sense of gloom.” ~ Austin American-Statesman 04.27.03 – critique for Verdi’s Requiem with the University of Texas Choral Arts Society"
“Nikita Storojev …. Brings a fine, impressively macho bass to the role. With his beautifully resonant depth of tone, he manages to act as terrifying as the tyrant Attila presumably was.” ~ The Star Tonight 08.06.92. – critique for Verdi’s Attila,Pretoria, South Africa
"Try Nikita Storojev bass and David Ashkenazy, piano (Chandos CHAN 7067), in a collection of Russian folksongs named after one of the best-known, Kalinka. Here is the legendary type of Russian bass voice, the genuine article, who seems happy to dwell among the low Gs and Fs..." ~ Opera Now, London
“Mussorgsky’s Songs and Dances of Death was explored with unforced vividness and power by bass solist Nikita Storojev. ~ The Daily Telegraph 02.08.91. – critique for recital in Festival Hall with the Royal Philharmonic Orchestra, London
"Nikita Storojev was a fine cavernous Fafner. His dragging back-of-throat Russian was an endearing idiosyncrasy ..."
~ New York Times 07.08.89. – critique for Wagner’s Siegfried, Capitol Theatre, NewYorkCity
Nikita Storojev was a stirring, appropriately stentorian Commendatore. One sat up with a start when he rolled out his malediction in tones black as pitch ..." ~ New York Newsday 08.06.89. – critique for Mozart’s Don Giovanni, New York City Opera
"Nikita Storojev was probably the most convincing actor-singer of the evening. This Russian-trained giant, with a gigantic voice to match, played Sparafucile" ~ Palm Beach Post 01.10.89. – critique for Verdi’s Rigoletto, Palm Beach Opera
"Essential to the vocal and dramatic balance of the piece was Nikita Storojev’s bass voice. The Russian sang both the role of Monterone, the nobleman who curses Rigoletto for mocking his family dishonor, and the creepy assassin, Sparafucile. He was outstanding in altering his vocal style from the majestic declarative utterances of the ill-fated nobleman to the sinister deal-making of Sparafucile.” ~ Palm Beach Daily News 01.10.89. – critique for Verdi’s Rigoletto, Palm Beach Opera
"Bass Nikita Storojev produces deep, resonant tones ideal for the richly Russian melodies Shostakovich uses much of the time..." ~ Australian Listener 10.08.88. – critique for recording of Shostakovich’s Symphony No. 14 on Chandos Records
"Simply perfect" ~ Diapason, Paris July 1988 – critique for recording of Shostakovich’s Symphony No. 14 on Chandos Records
“Nikita Storojev, irreplaceable Russian bass, solid as brass.” ~ Le Monde de la Musique, Paris March 1988 – critique of Shostakovich Symphony no. 13 recording
"The bass Nikita Storojev rates special mention for lending doomsday authority to the Oracle's pronouncements..." ~ New York Times 10.09.88. – critique for recording of Mozart’s Idomeneo on DECCA
"Nikita Storojev in Verdi's Requiem is a bass of very special qualities, of vocal character rather like the young Ghiaurov ..."
~ Daily Telegraph, London 06.17.87. – critique for Verdi’s Requiem, London’s Royal Albert Hall
"Storojev is a very expressive bass with a strong core that can determine the mood within one sentence" ~ Parod, Amsterdam 03.10.85. – critique for Verdi’s Requiem, Concertgebouw
“An artist in full maturity, his technique is sovereign, absolute.” ~ N.R.Z., Mannheim – critique for performance of Timur in Puccini’s Turandot
"In the role of Zaccaria, Nikita Storojev stood out among all the male performers, with his rich and deep voice ."
~ Populo, Roma 08.09.84. – critique for Verdi’s Nabucco, Termi di Caracalla, Rome
"Nikita Storojev as Zaccaria, together with Giovanni Gusmeroli (The High Priest of Baal) formed a pair of basses capable of offering moments of high lyricism from the best Verdian tradition, which you need for Simon Boccanegra and Don Carlo."
~ Corriere della Sera 08.09.84. – critique for Verdi’s Nabucco, Termi di Caracalla, Rome
"Nikita Storojev as Zaccaria was noble and severe, but also warm and intimate." ~ Republica 08.09.84. – critique for Verdi’s Nabucco, Termi di Caracalla, Rome.
"Nikita Storojev is an excellent bass. His diction is penetrating and spacious. He is an established first choice for major roles on the world's stage." ~ Opera International, Paris June 1984 – critique for the role of Pimen in Mussorgsky’s Boris Godunov, Paris Opera
“More Russian than Tchaikovsky...Great dramatic presence, unlimited shades of nuance, Nikita Storojev has a sumptuous bass voice" ~ Rheinische Post, Düsseldorf 02.14.84. – critique for recital of Tchaikovsky and Rachmaninov songs, Düsseldorf
“… a magnificent low, and a very elastic high sound … he can guide his voice with the evenness of an instrument; only seldom – but very effectively – does he color the sound of a specific word, or even just the ending of a word, as an expressive refinement. His interpretation skills are an absolute second nature for him. It is not insignificant to mention with these circumstances that Nikita Storojev can sing anything anywhere with pure intonation, and with an articulation that not only impresses the singability of the Russian language, but also speaks for the interpretation of character. Without any type of translation, the songs and arias he sang were completely understandable – purely from the expression of music.” ~ Rheinische Post, Düsseldorf 06.07.84. – critique for solo recital with piano, Düsseldorf Opera
"Well-deserved standing ovation for the Bolshoi singer Nikita Storojev in the four bass roles of Tales of Hoffmann. His voice engulfs the whole theater, penetrating even the lobbies and corridors" ~ Excelsior, Mexico 03.29.82. – Mexico City Opera August 1982
"Russian bass Nikita Storojev has a voice as deep as the Volga River" ~ Le Monde 11.09.77 – critique for gala performance in Paris