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The Cunning Little Vixen by Janacek, Turandot by Puccini, ballet Carmen/Morgenröte eines Stiers by Schtschedrin, Wunschkonzert at the Theater Magdeburg, Recording of L.Kashperova Symphony RSB Berlin; Beethoven, Bruckner with the Aalborg SymfoniOrkester; Sibelius, Shubert, Wallan, Brahms, Rachmaninov, Mahler, Beethoven with the Magdeburgische Philharmonie; Romeo and Juliet, Pique Dame at the Oper Leipzig; Schubert, Stravinsky with the Philharmonisches Orchester Landestheater Coburg; Opening concert of the Festival Ultraschal with the DSO Berlin; Final round of the Aarhus international piano competition with the Aarhus Symfoniorkester; Mayer, Schumann, Schubert with the BSOF Brandenburgisches Staatsorchester Frankfurt; Skryleva, Glière, Strauss with the Philharmonisches Orchester der Hansestadt Lübeck.
10 Jahre Symphonic Mob with the Deutsches Symphonie Orchester Berlin; Beethoven with the Augsburger Philharmoniker; Rigoletto, La Cenerentola at the Oper Leipzig; Rautavaara, Monnakgotla, Bach-Reger, Shostakovich at the Wermland Opera; New Year Concert with the Aarhus Symfoniorkester; Price, Schumann, Clyne, Mayer with the Neue Philharmonie-Westfalen; Valfridsson, Mahler, Tchaikovsky with the Jönköpings Sinfonietta; Bartok and Rachmaninov with the Fort Worth Symphony Orchestra; Eugen Engel’s Grete Minde, Le Nozze di Figaro, Fidelio at the Theater Magdeburg; Strauss, Canteloube, Skryleva, Lera Auerbach, Sergey Rachmaninov, E.Kats-Chernin, M.Bruch, Mendelssohn-Bartholdy, Beethoven 9 Symphony, Dvorak, Bruckner, Mahler, Gurvitch, Schubert with the Magdeburgische Philharmonie; German Conducting Award - Jury member; CD Recording for Orchid Classics in collaboration with Nielsen International Competition and the Odense Symfoniorkester; Gershwin, Bernstein with the Philharmonie Essen.
As a composer, Anna Skryleva's works are published by Universal Edition Vienna. Selected Compositions/ Arrangements: “Mirror” for Soprano & Orchestra; 3 Impromptus in C for the Orchestra; “Lullaby” for 2 voices and the orchestra; W. A. Mozart "La clemenza di Tito" Opera Seria in due atti reduced orchestration by Anna Skryleva, Bärenreiter Verlag; W.A. Mozart "La clemenza di Tito" Nr. 15 Aria con Coro, arrangement for Solo Trumpet (ossia piccolo trumpet) & Brass ensemble by Anna Skryleva, Universal Edition among others.
OPUS KLASSIK 2024 award in the category World Premiere Recording of the Year for her album "Eugen Engel: Grete Minde"
Theater Magdeburg
Theater Magdeburg
Carl Nielsen International Competition 2019 Final Round, performance by Blaz Sparovec and Copenhagen Philharmonic, conductor Anna Skryleva.
Carl Nielsen International Competition 2019 Final Round, performance by Blaz Sparovec and Copenhagen Philharmonic, conductor Anna Skryleva.
An even greater tsunami of ovations flooded the Gewandhaus Orchestra. The sound coming from the pit was definitely top class. The constant alternation between lyrical expanses and Prokofiev's angular mass scenes for the story ballet, which premiered in Brno in 1938 and was originally planned with a happy ending, was impressive. The dark abruptness of William Shakespeare's tragedy sounds as cultivated and brilliant on Augustusplatz as the slow movements of the love scenes. Anna Skryleva wants nothing to do with the Russian style of ballet conducting - i.e. the sinewy, opulent and somewhat pathetic condensations à la Gennady Rozhdestvensky and Algis Shuraitis. Disciplined and elegiac, it is instead oriented towards the top-class virtues of the Gewandhaus Orchestra: Cantabile beauty with an addictive factor, but also with avoidance strategies against Prokofiev's seething nervous drama. The warning function of the plot against overheated passion in Shakespeare and other adaptations was irrelevant for Lovette and Skryleva.
The Gewandhausorchester Leipzig also contributes to this delightful, acclaimed evening... Under the direction of the conductor Anna Skryleva, they let Prokofiev's music resound in all its sharpness and harshness, but also in its most sensitive lyricism.
“People should expect a strong personal story about the fairness and justice,” Skryleva said. She described the music as having “the sound of late Romanticism” heavily influenced by Richard Wagner, Richard Strauss and Erich Wolfgang Korngold.
Anna Skryleva hat großartige tönende Überzeugungsarbeit geleistet, führt souverän ihr Orchester.
Skryleva and Ulrike Schröder, Theater Magdeburg’s chief dramatic adviser, oversaw the painstaking transcription by external experts of more than 40 individual voice and instrument parts, making use of the shutdown during the pandemic to do so.
Anna Skryleva dirigierte das Gewandhausorchester in einer fesselnden Aufführung der vollständigen Partitur, die die dramatische Spannung aufrechterhielt.
