Vasily Sevastyanov (1875, Tambov Province – 1929, Paris) was an opera singer (dramatic tenor), chamber concert singer.

Shortly after Vasily's birth, the family moved to Kharkov, where the boy grew up and received his education, graduating from the Kharkov Technical School. He studied singing in Italy, funded by the famous impresario Prince Alexei Tsereteli, under Professors Cesare Rossi and Paolo Vidal. After completing his studies, the young man debuted with Tsereteli's troupe in Odessa in the role of Readmes in the opera ‘Aida’ by Giuseppe Verdi. The singer performed on opera stages in Kharkov, Kiev and Rostov-on-Don.
From 1901 to 1905, Vasily Sevastyanov was a soloist at the Bolshoi Theatre in Moscow. By this time, he was already considered one of the best Russian tenors.

Vasily Sevastyanov had exceptional stage temperament; the singer became famous for his dramatic performance of the role of Herman in the opera ‘The Queen of Spades’ by Pyotr Tchaikovsky. His best roles include Jose in the opera ‘Carmen’ by Georges Bizet and Turiddu in the opera ‘Cavalleria rusticana’ by Pietro Mascagni. A large photograph of the singer in the role of Jose is on display at the Bolshoi Theater Museum, in the part located in the foyer.

In 1902–1903, Sevastyanov took part in performances by the Russian Private Opera Company (Theatre of Solodovnikov and ‘The Hermitage’ Theatre). In February – August 1904 and in the spring of 1905, the singer honed his skills abroad. His repertoire included 26 roles.

From 1902, V. Sevastyanov participated in the concerts of the Russian Music Lovers' Society, where he performed romances by Alexander Borodin, César Cui, Mikhail Ippolitov-Ivanov, Alexander Goldenweiser, Anton Arensky. In 1907 and 1910-1911, he was a soloist at the Mariinsky Theatre in St. Petersburg. Over the years, Vasily Sergeyevich toured in St. Petersburg (theatre company of Maximilian Maksakov), Baku, Moscow (private opera of Sergei Zimin), Riga, Kharkov, Tiflis, Kazan and other cities.

After V.S. Sevastyanov lost his voice (probably in the late 1910s or early 1920s), he switched to impresario activities, seeking to improve the quality of the dramatic component of opera productions, paying particular attention to acting and dramaturgy. His aim was to overcome clichés in opera productions, where singing often dominated at the expense of theatrical authenticity.
Sevastyanov, with his experience as a singer, understood that opera was not only about vocals, but also about drama. He sought to attract actors with good stage training, not just singers with strong voices, and participated in Russian opera productions abroad (in Paris and other centers of emigration).

In the 1920s, already living in Paris, Sevastyanov participated in organising tours for Russian artists and creating opera non-repertory company.
The singer died on October 21, 1929 and was buried in Paris.

The museum Collection section “Prints” features a series of postcards entitled ‘Russian Opera Singers’.  Published by the Committee for Equipping the Expedition to the North Pole for the Exploration of Russian Polar Lands, N.A. Krestovnikov, K. Fischer, and others. Early 20th century.

On the cover: Open letter. V.S. Sevastyanov. Early 20^th century