Stanislav Kochanovsky

“The greatest revelation of the evening was the guest conductor, young Russian Stanislav Kochanovsky…. Obviously very much at home with his own nation’s music, he conducted with musicality, technical proficiency, clarity and much musicality, achieving the best both from the music and from the orchestra itself.”

© Marco Borggreve


During the 2019/20 season, Stanislav makes his debut with Danish National Symphony Orchestra, Gürzenich Orchestra Cologne, Dresden Philharmonic Orchestra, Israel Philharmonic Orchestra, and returns to conduct the Netherlands Radio Symphony Orchestra, Orchestre national du Capitole de Toulouse, Belgian National Orchestra, Melbourne Symphony Orchestra, St.Petersburg Philharmonic Orchestra, Russian National Orchestra, Mariinsky Orchestra and Malaysian Philharmonic Orchestra.

Stanislav has had numerous recent successful debuts: Royal Concertgebouw Orchestra, Philharmonia Orchestra, Orchestre de Paris, Oslo Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Netherlands Philharmonic Orchestra, Royal Stockholm Philharmonic. Stanislav returns regularly to lead performances with Accademia Nazionale di Santa Cecilia, Rotterdam Philharmonic, Orchestra Sinfonica della RAI, among many others.

Recent opera engagements have included Pique Dame and Eugene Onegin (Opernhaus Zürich), Iolanta (Maggio Musicale Fiorentino), Prince Igor (Dutch National Opera Amsterdam) and Boris Godunov (Korean National Opera). As a guest conductor, Stanislav regularly performs at the Mariinsky Theatre, and has more than thirty operas in his repertoire.


Video & Audio

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    02 Dec 19 TCHAIKOVSKY & STRAVINSKY Gurzenich-Orchester Köln
    Philharmonie Köln

    “Under the direction of Stanislav Kochanovsky, the sound shines and shimmers in all colors […] The chamber-music clarity and full of thrilling splendor was created by the Russian conductor with perfectly balanced dynamics, from the fluffy pianissimo to the finally victorious triumphant tutti: Bravi!”
    Rainer Nonnenmann, Kölner Stadt-Anzeiger


    “The Russian conductor provided with precise direction for a captivatingly clear sound, at the same time for an emotionally gripping interpretation.”
    Bonner Generalanzeiger, Mathias Nofze

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    07 Nov 19 PROKOFIEV & RACHMANINOV Orchestre Philharmonique de Strasbourg, Jean-Guihen Queyras (cello)
    Palais de la Musique et des Congrès, Strasbourg

    “Under the direction of young and talented Stanislav Kochanovsky, and alongside cellist Jean-Guihen Queyras, the Philharmonic distinguished itself in a repertoire of Russian music […] Eloquent appears especially the direction of Kochanovsky, with flexible arms and air. The orchestra responds with a rare sense of discipline, enriching each moment with a brilliant palette […] . Rapid movements sparkle, slow ones unfold with an organic amplitude […] The conductor abandons his wand to sculpt the best sound and exalt a resplendent and fusional formation.”
    Dernières Nouvelles d’Alsace

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    27 Sep 19 RIMSKY-KORSAKOV, PROKOFIEV (Nikolai Lugansky), TCHAIKOVSKY Belgian National Orchestra
    BOZAR, Brussels

    “Conductors do make a difference with orchestras. We were reminded of this once again when Stanislav Kochanovsky stood before the Belgian National Orchestra to lead them through an all-Russian triple bill, gathering Rimsky-Korsakov, Prokofiev and Tchaikovsky. The Russian maestro has been guesting with the BNO on a handful of occasions and their collaboration hints at real chemistry […] An attractive if tricky curtain-raiser, Kochanovsky evoked Rimsky’s Russian “España” with a radiant, warm smile […] Kochanovsky, with his elegant baton technique, made the orchestra sway and swirl, painting in brilliant colour strokes, up to the riveting finale.

    Conducting the symphony without a baton, Kochanovsky coaxed plenty of detail from all sections, balancing the overall sound with flair. Orchestral solos were without exception commendable. The most impressive work came from the strings, amply textured under Kochanovsky’s guidance, with the massed cellos and double basses often encouraged by the conductor to give the music extra depth. Conductors do make a difference.”
    Marc Haegeman, bachtrack

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    15 Sep 19 RACHMANINOV Francesca da Rimini Netherlands Radio Philharmonic Orchestra
    Concertgebouw, Amsterdam

    “Kochanovsky managed to suggest echoes of human cries by filing a sharp edge onto the winds and strings. This piercing orchestral quality contrasted with the restrained lyricism of the love scene, which culminates, as in Wagner’s Tristan und Isolde, in the brutal interruption of an ecstatic embrace. As in his earlier appearances conducting Russian operas in Amsterdam, Kochanovsky proved a masterful storyteller, knowing when to go in for grand gestures, as in the violent tornados of both finales, as well as how to let a passage such a Tchaikovsky’s refined romance release its perfume gradually.

    Kochanovsky displayed how expertly he uses space and dynamics to bring details to the fore.”
    Jenny Camilleri,

    “Maestro Stanislav Kochanovsky has the Radio Philharmonic Orchestra play delicately. The sounds he evokes from the broadcasting orchestra, especially in the intimate moments, have such a rich texture that you can almost feel them physically.”
    Jordi Kooiman, Place de l’Opéra

    “With graceful gestures, he led the orchestra through all the pitfalls (and there are a few!) In Tchaikovsky’s score. And the middle part, the love duet, that was so beautiful that it hurt. He really let the Radio Philharmonic Orchestra play velvety.”
    Basia Jaworski,

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    12 Jul 19 MUSSORGSKY Boris Godunov
    Mariinsky Theater "The White Nights"

    “Stanislav Kochanovsky’s conducting was distinguished on the stage of the performance, proving a contrast from the many house Kapellmeisters of the theater in the sense that he did not comply to the stage, but actually “conducted” the performance. No wonder he is making an international career.”
    Sune Manninen,

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    28 Apr 19 RACHMANINOV Orchestre de Paris
    Philharmonie de Paris

    “Stanislav Kochanovsky and the Paris strings set up the most gorgeous pillow of sound […] Kochanovsky immediately drew out its [Rachmaninov’s The Rock] brooding nature […] This hall allows every detail to register and – immaculately balanced by Kochanovsky’s unfussy conducting – the performance glistened and growled.
    Mark Pullinger, bachtrack

    “‘A good conductor ought to be a good chauffeur,” Rachmaninov once said, “the qualities that make the one also make the other. They are concentration, an incessant control of attention, and presence of mind; the conductor only has to add a little sense of music.” Stanislav Kochanovsky was a reliable chauffeur indeed, steering the Orchestre de Paris securely …  the work’s fireworks fizzed and there was plenty of menace in the Dies irae quotations too, echoed in Lugansky’s encore…”
    Mark Pullinger, bachtrack

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    12 Apr 19 FEDELE (Word Premiere), TANEEV, SCRIABIN & STRAVINSKY Orchestra dell’Accademia Nazionale di Santa Cecilia

    “The orchestra, under the hands of Kochanovsky, moved with great naturalness and intensity, offering a unique show: the great enthusiasm and involvement of orchestra professors in playing the most difficult passages did not go unnoticed […] Kochanovsky has equipped the sonorous diaphragm (especially the arcs) with a truly remarkable breadth of breath, embellishing even the richest parts of counter-objects, each with great clarity.

    The direction of the young Kochanovsky was, on the whole, perfectly adequate and punctual. There were no wobbles and the orchestra moved compact, especially in the most bitter and complex moments from the timbric point of view (as in the furious Danse infernal ).

    Delicate and even sought after in Berceuse , Kochanovsky made the whole orchestra express all that calm and dreamy lyricism typical of the piece, without dwelling on the voluptuous glissandos , maintaining however a great structural control of the orchestra. Control that is also confirmed on the final picture, La disparition du palais , where Kochanovksky showed an energetic presence, knowing how to dose the sound stratification of the hymn in a very involving way, which led the room with bated breath to the deserved downpour of final applause.”
    Valerio Sebastiani,

    “What Stanislav Kochanovsky,the young conductor from St Petersburg lacked in animal excitement (so much the norm these days) he made up for with a refined music palette reminiscent of the great German conductors of the past like Eugene Jochum or Otto Klemperer.None of the blaring brass or outlandish percussion but a great musical line that was immediately apparent in the magical sounds that he found in the suggestive new score, Lexikon 111, of this distinguished composer from Lecce in Puglia. A sign of a great conductor is not how loudly he can get his band to play but quite the contrary, how quietly.
    It was the extraordinary sound world of Ivan Fedele that found this magnificent orchestra under Kochanovsky listening to each other […] The musical line passing from chorus to orchestra with such simple gestures from a conductor who was listening so attently and undemonstratively to the great achitectural line and drawing them all together in a sumptuous amalgam of sounds.”
    Christopher Axworthy,

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    05 Apr 19 PROKOFIEV & SHOSTAKOVICH Philharmonia Orchestra
    Royal Festival Hall, London

    PROKOFIEV Piano Concerto No. 3 (Denis Matsuev) & SHOSTAKOVICH Symphony No. 7 ‘Leningrad’

    “Russian Stanislav Kochanovsky was making his Philharmonia debut in this Russian programme, and the result was electrifying […] There followed an exceptional outing for Shostakovich’s ‘Leningrad’ Symphony, one that took no prisoners, with Kochanovsky in total command of a work that is a memorial both to a city and to a culture. The drifts of the famous ‘invasion’ music that float aimlessly in the opening of the first movement […] [were] magnificently calibrated then weaponised by Kochanovsky on the end of his firm but discreet beat – this was just one example of his uncanny ability to animate and characterise.

    Every aspect of this supercharged work thrived under his direction – its dread and casual violence, its volcanic harshness and, unforgettably, those long, bleak passages where the music withdraws then hides, when it is easy to imagine the wraith-like circumstances of the Symphony’s premiere. You could hear the music put-on slabs of muscle then lose it just as quickly, and the Philharmonia realised his overall vision with astonishingly abrasive and beautifully refined playing. Woodwind solos were out of this World, the strings’ depth and colour was fathomless, and the brass was unsparingly powerful.

    Kochanovsky was at his best, though, in giving the ‘Leningrad’ shape, grandeur and ambiguity without imposing an overtly illustrative story-line, and it was this breadth that in the end guaranteed the impact of this superb performance.”
    Peter Reed, Classical Source

    “Kochanovsky is a superb accompanist, with Matsuev all the way, while allowing his orchestra to take centre-stage as appropriate […] the quicksilver reactions of Kochanovsky and his orchestra were remarkable.”

    “There is no doubting the musical intelligence of this conductor. The Philharmonia responded to Kochanovsky with some of their finest playing […] one has to acknowledge the strength and consistency of Kochanovsky’s vision of Shostakovich.”
    Colin Clarke, Seen and Heard International

    “The occasion brought young Russian conductor Stanislav Kochanovsky to London for the first time. He has been making waves around Europe and beyond, and we now heard just why.

    A proper baton (not a kebab skewer or toothpick), held delicately between thumb and index finger so that expressive movements as well as a clear beat become possible. And a continuous beat at that.

    Kochanovsky often had his finger to his lips, such that some notes at phrase ends were on the threshold of audibility, which added tension (for player as well as audience) […] The finale’s blazing coda was Brucknerian in nobility, and this impressive conductor was duly acclaimed. If this was an audition for the Principal Conductorship which Salonen will soon vacate, then Stanislav Kochanovsky might have become a contender. Whether in that position or not, he must be summoned back.”
    Roy Westbrook, bachtrack

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    09 Feb 19 RACHMANINOV & TCHAIKOVSKY Rotterdam Philharmonic Orchestra
    De Doelen, Rotterdam

    “Kochanovsky seems to have a strong affinity with the music of Tchaikovsky. He has already conducted practically all the composer’s symphonic works and concertos, his ballets and four of his operas. This performance of the Pathétique, lucid, well-paced and detailed, left no doubt he has plenty to say. Kochanovsky has obviously thought a lot about the orchestral balance and made sure little or nothing of Tchaikovsky’s orchestration remained uncovered. While the RPO may lack the dark sonority which can turn this symphony into such a devastating experience, Kochanovsky’s attention to the woodwinds and brass, excellent as they were (bassoons and principal clarinet in particular), gave the symphony remarkable tonal contrast and depth […] Besides the blooming melodies, such as the big lyrical theme in the first movement which has been used and misused in various contexts often detrimental to the composer’s reputation, Kochanovsky made it clear this symphony set new boundaries for expressive purposes, as in the muscular, stormy development of the first movement, the Allegro molto vivace and even the final emotional outpourings of the Adagio lamentoso. The Rotterdam Philharmonic played it all with great commitment and conviction.”
    Marc Haegeman, backtrack

    “Stanislav Kochanovsky (he made his debut at the Rotterdam Philharmonic Orchestra in 2014) knows his Tchaikovsky. His approach to the score was fascinating from start to finish […] Kochanovsky’s very strong pulse, his paramount concern for phrasing and dynamic proportionality, the choice for the affect instead of the effect, the rightly sharp but well-dosed contrast between exuberance and intimacy […], the constantly swirling Allegro molto vivace and the closing part in an extraordinarily expressively charged arioso dolente made everything a very memorable performance.”
    Aart van der Wal,

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    28 Nov 18 BORODIN, BROSTRÖM, TCHAIKOVSKY Royal Stockholm Philharmonic
    Konserthuset Stockholm

    “Conductor Stanislav Kochanovsky led the musicians beautifully through these dances; exotic tones sifted through a Russian filter, double removed today and therefore extra dreamy.”

    “Stanislav Kochanovsky always leads the trusting musicians through the music; the many variations on a theme showed the romantic rises in nuance and pace.”

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    26 Oct 18 KABALEVSKY, SHOSTAKOVICH RTE National Symphony Orchestra
    National Concert Hall, Dublin

    “From the opening notes, Kochanovsky elicited a sharp, crisp tone from the RTÉ National Symphony Orchestra while keeping the rhythm taut. With blaring brass and fun cross rhythms, Kochanovsky made this a dramatic, lively rendition of this delightful overture…”

    “The 12 repetitions of the “War theme” were masterfully graded by Kochanovsky starting with an innocent melody on the flute and finishing with the brass blazing forth in all their glory, a veritable cry of humanity against the horrors of war. The pizzicato at the end was nothing short of brilliant, resonating in the silence that followed.

    Kochanovsky conceived the second movement as an ironic Scherzo, rejoicing in its unsettling dissonance and typical harmonic changes […] Even the livelier moments possessed a sinister quality […] At times stormy, at other times violent, Kochanovsky ratcheted up the volume and excitement to an almost unbearable pitch before the victorious C major shone out and brought an end to the terrors of war.”
    Andrew Larkin, bachtrack


    “From the immaculately controlled crescendo representing the advancing invaders that erupts into a nightmarish depiction of the ensuing battle right through to the last movement with its ending in resolution tempered in bitterness and regret, this performance had me gripped […] At the end there was an immediate outbreak of cheering and a well-deserved standing ovation.”

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    06 Oct 18 BRITTEN, PROKOFIEV National Orchestra of Belgium
    BOZAR, Brussels

    “Kochanovsky maintained a relentless march rhythm with the help of bass and snare drums to the resounding battle cries on low brass, as the woodwinds provided some relief in an interlude […] Oozing with lush lyricism and sensitivity where necessary, as in Romeo’s Variation and Love Dance, the orchestra proved it was also capable of a shrill tone and sharp exchanges in Meeting of Tybalt and Mercutio and The Duel […] Kochanovsky left nothing to chance, and it showed. His meticulous attention to the kaleidoscopic range of orchestral colours and the timbres of the instruments in different combinations bore fruit.
    Alan Yu, bachtrack

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    07 Aug 18 VERDI Rigoletto
    Verbier Festival

    “Under the baton of the energetic Russian conductor Stanislav Kochanovsky, the phalanx delivers a dazzling performance of intensity and sensitivity, from the perfectly andante prelude to the volcanic incarnation of the storm in the third act. Mastery of the nuances, fortissimos expressed con fuoco, in perfect osmosis with the singers: everything contributes to the complete success of the execution of the work.”
    “Sous la baguette de l’énergique chef russe Stanislav Kochanovsky, la phalange livre une prestation éblouissante d’intensité et de sensibilité, depuis le prélude parfaitement andante jusqu’à l’incarnation volcanique de l’orage au troisième acte. Maîtrise des nuances, fortissimos exprimées con fuoco (avec flamme), en parfaite osmose avec les chanteurs : tout concourt à la pleine réussite de l’exécution de l’oeuvre.”
    Pierre Géraudie,

    “The delicate attention of the baton of the young Russian conductor Stanislav Kochanovsky is certainly no stranger to the more than convincing result of the orchestra.”
    “L’attention délicate de la baguette du jeune chef russe Stanislav Kochanovsky n’est certainement pas étrangère au résultat plus que probant de l’orchestre.”
    Jacques Schmitt, ResMusica

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    12 Jan 18 DEBUSSY, BARTOK, BERLIOZ RTE National Symphony Orchestra
    National Concert Hall, Dublin

    “Conductor Stanislav Kochanovsky made the music breathe with meltingly tender phrases […] What was most impressive was the way in which the gossamer threads of yearning were spun without a break throughout.”

    “There was so much that was thrilling here: the fateful Dies Irae, the brilliant fugue, the raucous syncopations. Kochanovsky ratcheted up the tension till the hairs stood on the back of my neck before an explosive final flourish.”
    Andrew Larkin, bachtrack

    “Under the skillful hands of guest conductor Stanislav Kochanovsky, their rendition of Debussy’s Prélude à l’après midi d’un faune is ice-cream for the ears: sweet, refreshing and ultimately moreish. Kochanovsky’s conducting is the very embodiment of Debussy’s writing: fluid, elegant, and inexplicably whimsical, the subtleties of which are not lost on the orchestra.”

    “Berlioz’s Symphonie fantastique sees conductor and orchestra in full flight. Kochanovsky’s style and gesture undergo a chameleonic transformation from the calm with which he approached Debussy and Bartók’s work.

    “The course of the work [Symphonie fantastique] sees a variety of explosive hand gestures, which reach a climax during the witch’s sabbath as the conductor jumps up and down on the podium, seemingly lost in his enthusiasm.”
    Shauna Caffrey, GoldenPlec

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    01 Dec 17 TCHAIKOVSKY, RACHMANINOV L’Accademia Nazionale di Santa Cecilia
    Auditorium Parco della Musica, Rome

    “Kochanovsky has a very good understanding with the orchestra: his gesture is elegant, beautiful and very refined, which almost seems to sculpt the sound. The enchanted fairy surprise with which Tchaikovsky chose to start the Allegro tranquillo, which opens us to a world of dreams, is delicately delineated by Kochanovsky, which shows a taste for the beautiful sound, the chisel, the perfectionism that reminds us of Karajan’s spasmodic love of Tchaikovsky sound’s aesthetics.”
    Stefano Ceccarelli, L’Ape Musicale, December 2017

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    23 Nov 17 SCHUMANN, MARTINSSON, RACHMANINOV Melbourne Symphony Orchestra
    Hamer Hall, Melbourne

    “Dashing young Russian conductor Stanislav Kochanovsky is widely regarded as a rising superstar … Kochanovsky drew every ounce of energy from [the cello] section, imploring and cranking the strings into emotional overdrive. It was a sensational performance from orchestra and conductor alike, and received with thunderous applause from a most appreciative Melbourne audience.”
    Lisa MacKinney, Limelight Magazine, November 2017

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    28 Sep 17 Tchaikovsky: Eugene Onegin Opernhaus Zurich

    “Pure Poesie strömt auch aus dem Orchestergraben, wo mit ungemein eleganten Bewegungen, großer Flexibilität und Zartheit der Dirigent Stanislav Kochanovsky waltet. da werden so berührende Momente wie die leisen Tüne der Sängerin in Tatjanas Briefszene möglich.”

    “Pure poetry also flows out of the orchestra pit, where the conductor Stanislav Kochanovsky reigns with exceptionally elegant movements, great flexibility and delicacy, so that the touching moments such as the silent tune of the singer in Tatyana’s letter scene become possible.
    Anna Mika, Kronenzeitung

    “Tchaikovsky specialist Stanislav Kochanovsky has a particularly touching interpretation. The young musical director manages to produce precise unity with a sublime hand, which is already evident in the first bars of the overture. Together with his orchestra, he places the wonderful composition on a higher, even an ethereal, level. Nevertheless, he remains close to the Russian roots, which he makes particularly noticeable in the dances.”
    Werner M. Grimmel,

    “Dass der Abend in Zurich auch musikalisch und gesanglich höchsten Genuss bietet, erschließt sich bereits nach den ersten Taken und Tönen. Die Philharmonia Zurich unter der Leitung von Stanislav Kochanovsky tut es Barrie Kosky gleich und befreit die Partitur von erstickender Elegie. Der junde Dirigent verpasst diesem Werk, das nicht selten in russischer Schwermut ertränkt wird, eine Frischzellenkur. Mit gutem Tempo und eindringlicher Dynamik geht er kurvenreich in die Zielgerade und lässt dabei immer wieder einzeine Instrumente transparent aufblitzen.”
    Peter Wäch, O-Ton

    “Dirigent Stanislav Kochanovsky streichelt die Partitur, weiss aber, dass er ihr die Schöneheiten nicht entlocken muss, da sie übervoll davon ist. Es gilt vielmehr, sie anaufdringlich zu präsentieren, aneinanderzufügen, mit dem Gesang zu verbinden. All das gelingt dem jungen Russen dank der überragenden Philharmonia Zürich über drei Stunden bestens: Nie drückt er, nie übertreibt er, immer aber fliesst da ein breiter, golden leuchtender Tonstrom.”
    Christian Berzins,

    “Dafür kann man sich in diesem Moment, wie auch den ganzen Abend hindurch, an der winderschönen, hoch emotionalen und alle russische Wehmut, aber auch die Walzer, MAzurken und Polonaisen mit grossem Farbenreichtum und rhythmischer Präzision auskostenden Interpretation der Philharmonia Zurich under dem einfühlsamen, leidenschaftlichen Dirigat von Stanislav Kochanovsky erfeuen. Hoffentlich kann man diesen jungen Dirigenten (er sprang hier auch schon mal in Pique Dame ein) bald wieder am Opernhaus Zurich erleben.”
    Oper aktuel

    “Die philharmonia dreht rund auf, klingt satt, opulent, aber gezügelt und sensibel in der feinsten lyrischen Verästelung. Es scheint unter der Leitung des St Petersburg Dirigenten Stanislav Kochanovsky zum russischen Klangkörper mutiert. So und nicht anders, sinnlich atmosphärisch Dramatik, glaubt man, muss Tchaikovsky’s Partitur klingen – die packende Grundlage für die szenische Essenz der Lyrischen Szenen um verpasste Liebe und scheiterndes Leben.”
    Herbert Büttiker, Zürichsee Zeitung

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    07 Apr 16 Orchestra Sinfonica di Milano Giuseppe Verdi
    Auditorium di Milano

    “The greatest revelation of the evening was the guest conductor, young Russian Stanislav Kochanovsky…. Obviously very much at home with his own nation’s music, he conducted with musicality, technical proficiency, clarity and much musicality, achieving the best both from the music and from the orchestra itself.”
    Oliver Brett, Bachtrack