"Mikhail Agrest’s direction of the orchestra was pure poetry and emotion." - Demokraatti
Represented by
Representation
BACK TO ARTISTS OVERVIEW
Mikhail Agrest , Conductor
Mikhail Agrest, Conductor
Mikhail Agrest, Conductor
Return to Semperoper Dresden and Finnish National Opera and Ballet, concert engagements with Stavanger Symphony Orchestra, National Symphony of Taiwan, Singapore Symphony Orchestra (with Olga Peretyatko), Sinfonia Varsovia and Lodz Philharmonic.
The Fiery Angel at the Scottish Opera, Swan Lake, Heatscape at the Semperoper Dresden, Eugene Onegin at the Finnish National Opera, Faust at the Zurich Opera,La Traviata, Švanda dudák at the Semperoper Dresden, Don Giovanni at the Opera Australia, Tosca at the Swedish National Opera, The Legend of the Invisible City of Kitezh at the Metropolitan Opera, Jenufa at the English National Opera. Collaboration with orchestras such as the London Philharmonic Orchestra, BBC Symphony Orchestra, Vancouver Symphony Orchestra, Saint-Petersburg Philharmonic, Bremer Philharmoniker, Aalborg Symphony Orchestra, Seattle Symphony, New West Symphony, I Pagliacci at Azerbaijan State Opera.
Tchaikovsky - Eugene Onegin
Tchaikovsky - Eugene Onegin
Tchaikovsky - Eugene Onegin
Tchaikovsky - Eugene Onegin
Verdi - Traviata
Verdi - Traviata
Mikhail Agrest’s direction of the orchestra was pure poetry and emotion. Affection, hope, intellect, and beauty – every element was cherished like a petal of a flower. He led the orchestra through the musical narrative, like a good shepherd.
It was a performance, so rare in our days, that showed integrity and unity of the musical and theatrical incarnations. In many respects this is due to the intelligent manner of the conductor,
music in the blood. A former student of Mariss Jansons, he led the orchestra, bringing out inner details and nuances , and musicians obediently trusted each of his maningful gestures
Three cheers too for Mikhail Agrest and the Staatsorchester who have audibly worked hard to bring out the extraordinary richness and varied sonorities of John Lanchbery’s masterful arrangement of Liszt. In Stuttgart, this score was a new experience for both conductor and orchestra who have approached it with engagement and respect, making it sound fresh and singularly right. Agrest elicited magnificent playing, with warm string sound and emphatic brass. Time and time again, the detailing in the score was brought out in a way not heard in London.
Agrest and the orchestra gave a muscular account of this powerful score,
Mikhail Agrest keeps driving the music to its inexorable conclusion
