Conductor
Mikhail Sinkevich
Represented by
Represented by
Sergei Inkov, Stage Director
Anna Salova, Stage Director
Mikhail Sinkevich, Conductor
Sergei Inkov, Stage Director
Sergei Inkov, Stage Director
Vasiliy Zarzhetskiy, Stage Director
Bizet - Shchedrin's Carmen Suite, Rossini Cards and Stravisky Sacre du printemps at Palermo Teatro Massimo, Swan Lake and Spartak at Croatian National Theatre, Zagreb, Tosca, La bohème, Un ballo in maschera at Opera and Ballet Theatre in Tashkent, Madama Butterfly, Tsar’s Bride, La Traviata, Gianni Schicchi, Le Nozze di Figaro, Ruslan and Lyudmila, Pagliacci, Nutcracker, Don Quixote, Sleeping Beauty, Swan lake, Fledermaus in the National Theatre of Karelia, Tosca,The Flying Dutchman and The Nutcracker at the Bolshoi Theatre, Minsk.
Lady Macbeth of the Mtsensk District in the New National Theatre in Tokyo, Teatro Grande di Brescia symphonic concert, Der fliegende Holländer in collaboration with the Wagner Foundation in Germany in Donetsk, Kyiv, Lviv, Odesa, and tours in Germany. Nabucco and La traviata at the Sofia Opera, Eugene Onegin at the Rudolfinum concert hall in Prague, La Bayaderre with Universal ballet in Seoul, Rigoletto, Jenufa, Mazeppa, Il Trovatore, Carmen and Giselle in The Croatian National Theatre Zagreb, Un ballo in maschera, Rigoletto, Carmen, Madama Butterfly in Mariinsky Theater, Jenufa in Janáček Festival Brno, La Bayadere and Carmen in the International Summer Festival Ljubljana, The Tsar's Bride at the Bolshoi Theatre Moscow.
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The overtures to the operas "The Tsar's bride" & "La forza del destino"
The overtures to the operas "The Tsar's bride" & "La forza del destino"
Tchaikovsky - 6th Symphony. Final
Tchaikovsky - 6th Symphony. Final
Rimsky-Korsakov: The Tsar's bride
Sings J. Matochkina, A. Markov
Rimsky-Korsakov: The Tsar's bride
Sings J. Matochkina, A. Markov
Giordano: Siberia. Finale dell'opera
Giordano: Siberia. Finale dell'opera
Mikhail Sinkevich était à la tête de l’Orchestre du Mariinsky. Il a su avec énergie et détermination faire vibrer la musique de Tchaikovsky. Et qui mieux que ce compositeur a dépeint l’âme russe avec ses notes et ses couleurs ? Un orchestre puissant mais qui garde la rondeur des sons. Direction large dans des tempi allant, où le joyeux devient tragique où le folklore laisse place à l’inquiétude. Instruments solistes qui ressortent dans des interprétations choisies et nuancées. Belle direction jusque dans la fanfare sur scène qui anime la scène de bataille. Une représentation comme une fresque visuelle et musicale où la Russie respire et vibre sur les envolées musicales. Superbe!
Even so, this staging gorgeously designed, as is the “Paquita” Grand Pas is the highlight of the opening program, not least because the Maryinsky Orchestra, as conducted by Mikhail Sinkevich, brings such rapturous color to Glazunov’s music
The exciting evening with a lot of excellent music was opened by the distinguished Russian maestro Mihail Sinkevich, conductor of the famous Mariinsky Theater from St. Petersburg, with a suite from the opera Amfitrion by Boris Papandopulo. This performance concludes the mini-cycle in which the Zagreb Philharmonic presented a few works by this great Croatian master that were lost until yesterday.
In the series of recent concerts, the Blue Octave of the Zagreb Philharmonic, conducted by Mikhail Sinkevich, joined the stage in the last few days. The infectious energy of the Russian conductor seemed to inspire the philharmonic musicians, who played with unusual zeal and commitment. The awakened orchestra showcased its virtues in the best light, primarily evident in precise rhythm, clarity of each section's role, and the dynamic richness of the sound. In the second part of the concert, Russian classics - Modest Petrovich Mussorgsky's "Night on Bald Mountain" and Pyotr Ilyich Tchaikovsky's "Romeo and Juliet" - were performed sharply, precisely, musically, and at commendable tempos under the secure leadership of Mikhail Sinkevich.
Expressively, she used the Minkus score as the externalization of her feelings -- riding its shifts of mood and impetus with unerring surety -- and it didn’t hurt that conductor Mikhail Sinkevich produced an unexpectedly sensitive performance from the Kirov Orchestra. With the lyricism of the score as persuasively rendered as its attempts at exotic splendor, all the choreographic facets of “La Bayadere” gained a new credibility.
Also benefiting from the revisions is the composer, the often maligned Ludwig Minkus. Heard in its intended order and context, his music's tunefulness, danceable quality and relevance become clear; the more so, given the Maryinsky orchestra's spirited playing under Mikhail Sinkevich's terpsichorean conducting. Any snobs who continue to sneer at Minkus must be deaf or daft.
Lo spettacolo dell'orchestra Mariinskij, diretta dal maestro Mikhail Sinkevich ha nobilitato un'atmosfera in cui era palese soprattutto la voglia di ritrovarsi, di tornare a una vita il più possibile normale dopo la pandemia....La prima, anche se iniziata con un certo ritardo, si è rivelata perfetta grazie alla dimestichezza di Sinkevich con questo celebre complesso russo, che ha saputo guidare con gesto appassionato e preciso.