press
Media Archive: selected publications about Alexander Vedernikov
"Praise be … to Glinka and Tchaikovsky for showing what glittering substance is all about, and to Alexander Vedernikov for perfection of style in both. (★★★★)".. >>
Elena CHEREMNYKH, Kommersant, March 21, 2001
Forty musicians from the previous lineup have joined the orchestra. Their youth, passion, and unconditional sympathy for the 38-year-old artistic director can already be seen as a winning platform for Moscow's youngest symphony orchestra. >>
Amelia GENTLEMAN,
The Guardian, Fri 6 Jul 2001
The Guardian, Fri 6 Jul 2001
The backstage drama at the Bolshoi saw the arrival this week of a young musical director whose mission is to drag the theatre out of the crisis that has shattered its reputation. >>
"Russian Life",
USA, September/October 2001
USA, September/October 2001
Depending on who you ask, Alexander Vedernikov has either the most or the least enviable job in Russian arts. >>
Review by ClassicsToday, 2001
Here Vedernikov and his orchestra are in top form, especially in the Vivace movement, which they attack with precision and without unnecessary bombast. >>
Eena CHEREMNYKH, Kommersant, Febr 19, 2002
"If it weren't for the program, the Bolshoi orchestra under the direction of Alexander Vedernikov, vibrating, tremulous, fiery and tender, could have easily been mistaken for a touring ensemble from La Scala." >>
Ekaterina BIRYUKOVA,
Izvestia, March 18, 2002
Izvestia, March 18, 2002
The performance of the dramatic legend of Hector Berlioz "The Condemnation of Faust" took place on the stage of the Bolshoi Theater. >>
RBC, June 3, 2002
The premiere of Mussorgsky's opera Khovanshchina will take place at the Bolshoi Theatre on June 7. >>
Ekaterina BIRYUKOVA,
Izvestia. June 7, 2002
Izvestia. June 7, 2002
Probably, there are operas that can argue with the "Khovanshchina" by the vagueness of their meaning. But there is hardly another one that combines this nebula with indisputable philosophical depth in such an incomprehensible way. >>
Olga FILIPPOVA, Belcanto.ru . March 6, 2003
It took a while for the "Virtuosos" to get used to Alexander Vedernikov's strong-willed and emotionally open manner of conducting.. >>
Marc ROCHESTER, The Gramophone, 2003
Alexander Vedernikov keeps things under rather too tight a rein, encouraging impressively clean playing from the RNO and immaculate precision (particularly of diction) from the choir. >>
David HURWITZ, ClassicsToday.com, not earlier than 2003
Alexander Vedernikov and the Russian National Orchestra give what sounds like a very committed performance of the score. >>
Lawrence BUDMEN,
January 29, 2004
January 29, 2004
Conductor Vedernikov and the Russian National Orchestra were equal partners in this magnificent performance of Bartok's swan song opus. >>
Colin CLARKE, MusicWeb International,
June 2004
June 2004
A marvellous performance, historically informed and caught absolutely on the wing.. >>
Terry BARFOOT, MusicWeb International,
June 2004
June 2004
Due credit needs to be given to the conductor, Alexander Vedernikov, for his attention to detail in bringing details of say, woodwind parts through in such a clear and natural way. >>
Cecelia PORTER, Washington Post, February 4, 2004
February started off with the proverbial bang at the Kennedy Center Concert Hall. And what a thrilling and commanding experience it was for the capacity audience as Alexander Vedernikov led the Russian National Orchestra in a powerful concert. >>
Bruce HODGES, MusicWeb International,
January-April 2004
January-April 2004
It seems strange that this piece isn’t performed very often, since it has everything to recommend it, either as a curtain raiser or an encore, especially when performed with the kind of spirit and energy Vedernikov demonstrated here. >>
Neil McGOWAN, MusicWeb International,
January-April 2004
January-April 2004
Vedernikov has staged work which is not merely worthy of a national centre of excellence – this is world-calibre work, at long last.. >>
Edouard BAILY, May 4, 2004
The Russian National Orchestra, led by a Vedernikov who seems to have retained everything from Mravinsky (rigor and harshness of the discourse, absence of concessions, clarity of articulation...), gives us a memorable reading of this symphony >>
Petr POSPELOV, Vedomosti, June 22, 2004
"Vedernikov's style is original and subtly challenges the charismatic approach favored by our top Wagnerian protagonist." >>
Claudio GHERBITZ, Il Piccolo di Trieste del 2004-09-26
He demonstrated a greater harmony with Britten than with the ardent Wagnerian passion, and perhaps that is why, choosing an exclusively Russian repertoire, he decided to stand firmly on his land, in his homeland. >>
Claudio GHERBITZ, Il Piccolo di Trieste del 2004-10-29
"Leading the "Requiem" would be enough to impart a sense of unity to such heterogeneity, a task that Alexander Vedernikov accomplished by going beyond, carefully calculating many details and managing to infuse vitality into the ensemble". >>
Vadim PROKHOROV, The Guardian, 16 March 2005
A new opera about clones is raising hell at the Bolshoi — and it hasn't even opened yet. >>
Anna KOCHAROVA
BBC Russian Service, Moscow, March 22, 2005
BBC Russian Service, Moscow, March 22, 2005
Children of Rosenthal, composed by Leonid Desyatnikov and staged by Lithuanian director Eimuntas Nekrosius, has already caused much controversy and triggered a political debate. >>
Göran FORSLING, MusicWeb International,
July-December 2005
July-December 2005
...These chords also confirmed that this orchestra is world-class. It is a lean sound, lean but not weak and the precision was impressive, the brass menacing and imposing. >>
RBC, Society , 12 Dec 2005
The Bolshoi Theater presented the premiere of Sergei Prokofiev's opera War and Peace. The musical director of the production was Mstislav Rostropovich, but a few days before the premiere he refused to take the conductor's stand. >>
Irina MURAVIEVA, rg.ru, Dec. 12, 2005
The pace and rhythms of the war, worked out by Prokofiev on the material of "Alexander Nevsky", were set by Alexander Vedernikov, sometimes falling on the audience with a menacing mass of sound, but never once losing balance with the singers. >>
Evan DICKERSON,
Seen and Heard Opera Review, July 25, 2006
Seen and Heard Opera Review, July 25, 2006
The Bolshoi’s visit coincides with that of Gergiev’s Mariinsky team, but the Muscovites don’t seem flustered by the mega-maestro making London his second home, for they have brought two impressive productions, one old and one new. >>
Richard WHITEHOUSE, Classicalsource.com, 26 July, 2006
Alexander Vedernikov conducted with a sense of dramatic pace that finds the necessary momentum to vindicate the opera’s episodic formal thinking. >>
Hilary FINCH at Covent Garden,
The Times, July 27 2006
The Times, July 27 2006
Vedernikov draws spectacular playing from the Bolshoi Orchestra. >>
RBC, September 4, 2006
Onegin kills Lensky not in a duel, but by accident, and in the finale he tries to shoot himself. Tatiana, in a fit of emotion, knocks over chairs and climbs onto the table, and sings a romance with Olga with her back to the audience. >>
Göran FORSLING,
MusicWeb International, September 6, 2006
MusicWeb International, September 6, 2006
Søren SCHAUSER,
Berlingske, 26. November 2006
Berlingske, 26. November 2006
Det Kongelige Kapel har fået den helt rigtige chefdirigent. En mand med hjerte for både musik og mennesker. >>
Frankfurter Allgemeine Zeitung, Februar 13. 2007
Vedernikov is a musician who takes his time to run through the score, and you accept his love of detail with gratitude. >>
Frankfurter Neue Presse, February 15, 2007
At the console was Alexander Vedernikov, the orchestra's chief conductor since 2001, who is known not only in Europe. >>
Frankfurter Rundschau, February 16, 2007
Russian Russian musicians performed Ravel's perception of the Russian sound cosmos with their own, original feeling, so that the Greek-Spanish-Francophilism of this idealistic composer became the ideal of Russians... >>
Slava SHADRONOV, April 28, 2007
From a historical and musical point of view, "Boris Godunov" is still an unsolved work, unsolved primarily in terms of music, and not even in terms of dramaturgy... >>
Mikael GARNES, Kristeligt Dagblad, September 29, 2007
RBC, November 14, 2007
The premiere of the new version of "Eugene Onegin", which took place on September 1, 2006 on the New Stage of the Bolshoi Theater, provoked a vivid reaction from critics. >>
Colin ANDERSON, Classicalsource.com, 15 December, 2007
Vedernikov drew lucid, well-balanced, focussed and confident playing from the BBC Symphony Orchestra that had the right sort of edge to remind, certainly in the Rachmaninov and Tchaikovsky pieces, of the music’s Slavic background. >>
Pieracille DOFFINI,
Avvenire, January 9, 2008
Avvenire, January 9, 2008
All tickets were sold out for three concerts of Russian musicians. Only one chord was enough, the first gloomy chord of Tchaikovsky's Francesca da Rimini, and the spirit of Russia wafted into the La Scala Theater... >>
Elvio GIUDICI, Il Giorno, January 9, 2008
An historical ensemble performed at the La Scala theatre, with piano by Nikolai Lugansky >>
Elsa AIROLDI,
Il Giornale, January 10, 2008
Il Giornale, January 10, 2008
The audience was captured by the power and confidence of conductor Alexander Vedernikov, the brilliant technique of pianist Nikolai Lugansky. >>
Boris LIFANOVSKY, January 18, 2008
At the beginning of the year, the Bolshoi Theatre orchestra and choir performed triumphantly in St. Petersburg and Milan >>
ClassicalMusicNews.Ru.
January 21, 2008
January 21, 2008
Despite the fact that the two theaters have a long and close relationship, the tour of the Bolshoi Symphony Orchestra in Milan is at least a non—ordinary event. >>
Cagliari, teatro Lirico, 27 Apr 2008
The Teatro Lirico di Cagliari offers yet another rarity and opens the Festival of Saint Efisio with 'The Legend of the Invisible City of Kitezh and the Maiden Fevroniya,' composed by Nikolai Rimsky-Korsakov between 1903 and 1904 >>
forum.balletfriends.ru, March 28, 2008
"I am very close to Eimuntas Nekrošius' creative method. Nekrošius has a magnificent command of the art of generalization: what happens on stage in his productions is not mundane; it is endowed with symbolic meaning, which, in my opinion, is much more interesting." >>
NEWSru.com. April, 10, 2008
Vedernikov received an award in the Symphonic Music category for his performance with the Orchestra of Italian Switzerland of Dmitry Shostakovich's First Piano Concerto. >>
Olga GRINKRUG, forum.balletfriends.ru, May 13, 2008
Italians favorably received the funeral paradise of Nekrošius and Rimsky-Korsakov. >>
Review of the Italian press, May 15, 2008
«The Legend of Kitezh» — an inspiring, titanic challenge. >>
Olga PAVUK,
The Baltic Course, Рига, June 16, 2008
The Baltic Course, Рига, June 16, 2008
A tour of the opera of the Bolshoi Theatre of Russia will take place on the stage of the Latvian National Opera. Two new productions of the Bolshoi will be presented to the audience — "Rosenthal's Children" and "Eugene Onegin". >>
Bolshoi Theatre, June 30, 2008
"The Miserly Knight" also "made it" onto the program of the latest subscription concert, which is commented on by the Bolshoi’s Artistic Director and Chief Conductor Alexander Vedernikov >>
The Bolshoi continues to celebrate Sergei Rachmaninoff and presents Frank Peter Zimmermann to Russia
Alexey BOGDANOVSKY, RIAN, July 16, 2008
The Athenian press notes the impressive work of the singers on Mussorgsky's complex material, the subtle work of the conductor, the rich decorations, and the meticulously detailed stage production in this performance, which is rare in Athens for its scale. >>
Nicole Duault, Journal du Dimanche, September 8, 2008
A magnificent opening of the season, controversial and tradition-breaking. In the spirit of the Opéra. >>
Emmanuel GIULIANI, "La Croix," September 8, 2008
For these Paris guest performances by the Bolshoi, the conductor's baton could only have been entrusted to its musical director and chief conductor, Alexander Vedernikov. >>
Klaus GEITEL, Berliner Morgenpost, January 2, 2009
Alexander Vedernikov renders the tragedy with vivid colors and great power, leading a brilliantly responsive orchestra. >>
Jan BRACHMANN, Frankfurter Allgemeine Zeitung, January 28, 2009
As conductor, Alexander Vedernikov, the musical director of the Moscow Bolshoi Theatre, stepped in a few days before the premiere. A stroke of luck. >>
Gabriele BALLOI, La Nuova, April 23, 2009
Alexander Vedernikov is on the podium of the Lirico. His conducting is bright, with blazing colors, splendidly emphasizing timbral and phrasing contrasts. >>
Geoff BROWN, The Times, May 17 2009
Simon Trpceski has phenomenal technique, good taste and inspiring imagination. >>
Lenta.Ru, July 14, 2009
It seems that the Bolshoi Theater is entering a period of personnel confusion. At the beginning of winter, the main choreographer Alexei Ratmansky left him, and the middle of July was marked by the announcement of the resignation of the chief conductor and musical director Alexander Vedernikov. >>
Izvestiya. July 14, 2009
"I was becoming more and more uncomfortable for the current administration," Vedernikov said. >>
Michael STOTT,
Reuters. July 14, 2009
Reuters. July 14, 2009
Alexander Vedernikov, who had struggled for eight years to raise standards and inject new life into Russia's best-known international music theater, announced his decision on the opening day of the Bolshoi's summer tour of Italy. >>
Irina MURAVYOVA,
"RG", ClassicalMusicNews.ru, July 16, 2009 г.
"RG", ClassicalMusicNews.ru, July 16, 2009 г.
Maestro Vedernikov intends to make an official statement about his termination of the contract with the Bolshoi Theatre, which expires in June 2010, on July 17, upon his return from Milan to Moscow. >>
Leila GINIATULINA, Marina TIMASHEVA,,
Radio Svoboda, July 16, 2009
Radio Svoboda, July 16, 2009
The following people take part in the conversation:: Ekaterina Kretova, Alexey Parin, Yuri Vasiliev, Natalia Zimyanina, Peter Pospelov. >>
Natalia ZIMYANINA, Novaya Gazeta, July 20, 2009
By indirect signs, it can be calculated that the "vision of prospects diverged" two years ago. But only now Vedernikov told about the reasons for his departure: his opinion is not taken into account, they demand quantity at the expense of quality; bureaucratic logic has largely defeated artistic logic. >>
LENTA.RU, August 18, 2009
"There is no need for any concept of development of the administration. You can just stupidly play the same performances year after year... doing one or two premieres per season is unacceptably small. With such enthusiasm, you can only produce "goodbye, youth" boots, and not work in the theater." >>
Izvestiya. September 22, 2009
Alexander Vedernikov, who left the post of musical director of the Bolshoi Theater in July, believes that the avant-garde composer Leonid Desyatnikov, who was appointed to this position today, will not be able to gain real power in the theater. >>
Colin ANDERSON, Сlassicalsource.com, 30 October, 2009
Vedernikov relishes detail and adds an edge to the music he conducts (aided by a lucid and expressive technique). >>
Anne DRUD, Odense Symfoniorkester. FyuensStiftstidende, Nov 3, 2009
”It was a sensation when we managed to engage him. He is one of the greatest and best conductors." >>
Enrico PAROLA, Corriere Della Sera, December 9, 2009
”I was here some years ago, now I find a more ductile, flexible and above all rapid orchestra" >>
Tim ASHLEY, The Guardian, 11 Dec 2009
"Musically it's very fine, though Alexander Vedernikov's conducting is too measured for my taste" >>
ResMusica, February 1, 2010
The 2010 Midem Classical Awards were presented as part of Midem. The award ceremony took place on Tuesday, January 26th at the Debussy Auditorium in Cannes >>
Colin ANDERSON, Сlassicalsource.com, 25 February, 2010
Vedernikov adds a certain flamboyance to his articulate conducting style, a gesturing that paints pictures and draws vivid playing and he is also alive to subtleties and variegation >>
Roger JONES,
Seen and Heard UK Concert Review., May 28, 2010
Seen and Heard UK Concert Review., May 28, 2010
Vedernikov managed to inspire the CBSO to play with vigour and commitment to produce a performance which was utterly overwhelming in its impact. >>
Christopher MORLEY,
BusinessLive, Jun, 4, 2010
BusinessLive, Jun, 4, 2010
Russian orchestral music is textured throughout with significant instumental solos, and in this all-Russian programme they were delivered with clarity and dexterity, marshalled under the sweeping and expert beat of conductor Alexander Vedernikov. >>
Gabriele BALLOI, La Nuova Sardegna, July 3, 2010
It is a reading with broad strokes (large brushstrokes) that the Russian maestro proposes, though not without nuances, but more focused on a full-bodied and full sound. >>
Edward SECKERSON,The Independent, 14 January 2012
Vedernikov was very laid-back with Kijé, a more genial, throw-away approach than we sometimes hear with bass drum thwacks and discordant raspberries from the brass like cartoonish exclamations and the earthy colourations realised with an air of total “normality”. >>
Mark BERRY, SeenandHeard-International.com, January 14, 2012
The final work on the programme was the Seventh Symphony. Its first movement once again revealed Vedernikov’s fondness for swift tempi: it was certainly on the fast side of Moderato, though for the most part, it flowed >>
Richard MORRISON, The Times, January 16, 2012
Vedernikov, current maestro of the Bolshoi, is an astute interpreter, under his direction the LPO’s performances were crisp and efficient. >>
Yulia BEDEROVA, Moscow News, February 14, 2012
Vedernikov did not simply propose three scores; he built them into an imposing story arc and clarified: this is about Russia in time. >>
Joseph THIROUIN, ResMusica, June 16, 2012
The conductor, Alexander Vedernikov, honorably succeeds in his first contact with the Orchestre de Paris. >>
Etiennes Comes, ResMusica, October 11, 2012
Vedernikov's direction immediately steered the discourse toward a narrative, which proved ideal in the first movement, rich in contrasts of tempi and atmospheres. >>
Bachtrack.com, Katherine DIXSON, 5 November 2012
Just when we thought the evening couldn’t get any more dramatic, guest conductor Alexander Vedernikov demonstrated a remarkable affinity with compatriot Rachmaninov and directed the players through a blistering performance of his Symphony no. 1 in D minor. >>
Caterina BERGO,
www.Sipario.it, 15 novembre 2012
www.Sipario.it, 15 novembre 2012
l'Orchestra Filarmonica del Teatro Comunale di Bologna ha partecipato a uno dei più grandi capolavori della musica sinfonica, la patetica di Kaykovsky: il direttore Aleksandr Vedernikov ha guidato l'orchestra su un percorso caratterizzato da un'interpretazione fedele alla partitura. >>
Marc HAEGEMAN,
Classical Net Review, 2012
Classical Net Review, 2012
Led by the Russian guest conductor Alexander Vedernikov, the Orchestre Philharmonique de Radio France inaugurated the year with an attractive all-Russian program. >>
Richard MORRISON, The Times, March 24, 2013
Vedernikov had surprised everyone by shaping a persuasive account of very British music: Tippett’s unfairly neglected Piano Concerto, with its unexpected nods to Beethoven and Brahms, and its off-kilter country- dance finale. >>
Rob BARNETT,
MusicWeb International, March 2013
MusicWeb International, March 2013
...This new one is nothing short of superb — spine-tingling stuff. The two Glazunov makeweights are lovingly done. They were not unknown to me but have, to my knowledge, never sounded so succulent.. >>
Chris GARLICK, Bachtrack.com, 25 March 2013
This evening’s concert, conducted by Alexander Vedernikov, was a thrilling evenings in the concert hall. >>
Geoff BROWN, The Times, September 24 2013
Yet the night’s biggest punch came from the BBCSO’s performance. Vedernikov inspired the musicians to discover their inner savage, propelling the most explosive sections with an elemental thrust. >>
By Emily OWEN, 25 September 2013
Conductor Alexander Vedernikov, with dramatic gestures somewhat reminiscent of the original choreography, ensured that the driving rhythms were accurate. >>
Derek HO, ResMusica, March 5, 2014
Conducting without a score, Vedernikov brought out excellent string ensemble while highlighting Schubert's absolutely delicious woodwind writing. >>
Bertrand BOISSARD, Diapason, April 7, 2014
Alexander Vedernikov does not hold back in the expansive Symphony No. 3 "Divine Poem," highlighting the epic and passionate character of a fresco agitated by struggles and upheavals through his broad gestures. >>
Par Nicolas NGUYEN, Bachtrack.com, 14 septembre 2014
Russian conductor Alexander Vedernikov took the audience on this musical rollercoaster journey with just the right balance of gusto and sensitivity. >>
Simon THOMPSON, MusicWeb International, September 2014
The orchestral playing for the slow movement is gorgeous, too, with some meltingly beautiful string playing at the outset and a lovely sense of flow. >>
Nick BRECKENFIELD, Classicalsource.com, 5 October, 2014
Vedernikov, now baton-less, took care of the arching span of the work, and Altstaedt matched his earlier vocal colleagues in offering contributions of the highest order. >>
Guy DAMMANN,
Financial Nimes, November, 4, 2014
Financial Nimes, November, 4, 2014
Shostakovich’s opera is conducted and directed with brutal clarity. >>
Per Rask MADSEN,
Information, November 7, 2014
Information, November 7, 2014
The many fantastic orchestral passages the Royal Chapel plays under Russian Alexander Vedernikov.. >>
Martin NYSTRÖM, Dagens Nyheter, March 16, 2015
The evening's conductor, Alexander Vedernikov got the Royal Court Orchestra to growl and roar in the most bestial manner without the music losing its burning sharpness. >>
Göran FORSLING, SeenandHeard-International.com, March 21, 2015
Vedernikov grabbed every opportunity to revel in the meaty portions of the score, never more so than in the opening storm scene with blinding light flashes and both orchestra and chorus on their toes. A memorable evening! >>
ClassicalMusicNews.ru,
April 9, 2015
April 9, 2015
«I have been fortunate in life to collaborate and associate with Mstislav Rostropovich... He was a major intellectual figure who set in motion the specific gears of the musical world." >>
Tim ASHLEY, he Guardian, 16 Apr 2015
The BBC Symphony Orchestra was in fine form for Alexander Vedernikov in the complete Des Knaben Wunderhorn cycle >>
Fiona MADDOCKS, The Guardian, 19 Apr 2015
Des Knaben Wunderhorn, sung with fine colour and nuance by the baritone Dietrich Henschel and played, with equal brilliance of detail and contrast, by the BBC Symphony Orchestra conducted by Alexander Vedernikov >>
Colin CLARCE, SeenandHeard-International.com, January 31, 20016
The BBC players responded well to Vedernikov’s direction, the balancing of the brass section spoke of careful rehearsal. >>
Peter REED, Classicalsource.com, 30 January, 2016
Vedernikov coaxed wonderfully apposite playing from the BBC Symphony Orchestra in a score teeming with ear-bending instrumental combinations >>
Paul DRIVER, The Sunday Times, February 7, 2016
This performance — somehow all the more involving because the conductor, Alexander Vedernikov, stood level with the players >>
Ian LACE, SeenandHeard-International.com, February 25, 2016
Vedernikov conveyed with relish all shrewishness and satanic excesses before the piece ended in sweet tranquillity as dawn breaks. >>
David TRUSLOVE, Сlassicalsource.com, 26 February, 2016
This was wonderfully paced, with confident, gutsy playing, brass almost braying and leading towards a powerful execution. >>
Peter DŰRRFELD, Kristeligt Dagblad, April 19, 2016
Alexander Vedernikov, proved once again to be an excellent opera conductor, and the Odense Symphony Orchestra was in top form.. >>
Clive PEACOCK,
26 May 2016
26 May 2016
With a Russian conductor, Alexander Vedernikov, very much at home with an all-Russian programme, the strong CBSO audience following was in for a treat. >>
By The Newsroom, The Scotsman, 27th Jun 2016
Life-affirming music, transcending every boundary, conductor Alexander Vedernikov shaped and moulded it, often without a baton, in complete empathy with orchestra, chorus and soloists. >>
Colin ANDERSON,
ClassicalSource, August, 23, 2016
ClassicalSource, August, 23, 2016
Vedernikov found the demon in the music and also its eerie beauty, effectively discovering an equilibrium between construction, motifs and mechanics against expression that twists slimily, erupts and hits hard. >>
Alan SANDERS,
Seen and Heard International, August, 24, 2016
Seen and Heard International, August, 24, 2016
Vedernikov’s balanced, proportionate view of the score bought its own rewards, since it had a pleasing lyrical emphasis, and tension developed naturally as the musical argument unfolded. >>
Mark PULLINGER, Bachtrack.com, August 24, 2016
Vedernikov launched into the obsessive ostinato of the possessed opening with admirable precision and controlled aggression. >>
Michael CHURCH,
The Independent, Thursday, August, 25, 2016
The Independent, Thursday, August, 25, 2016
Vedernikov’s sensitive conducting allowed every note from the piano to impinge delicately. >>
Michael CHURCH, The Independent, 06 September 2016
Vedernikov’s sensitive conducting allowed every note from the piano to impinge delicately; Hough’s virtuosity was consummate, yet casual-seeming. >>
David Hurwitz, ClassicsToday.com, after September 9, 2016
Alexander Vedernikov leads the Odense Symphony with the expected expertise. >>
TASS, October 25, 2016
From the point of view of both the libretto and the music of this performance, this work is worthy of being returned to in a new stage version. >>
Vincent GUILLEMIN, ResMusica, November 25, 2016
Led by the excellent Alexander Vedernikov, the Royal Liverpool Orchestra majestically accompanies a concerto too often treated with vulgarity. >>
Alexander CAMPBELL, Сlassicalsource.com, 16 February, 2017
The first movement opening impressively, a sinewy tone rather than romantic weight and the woodwind section was on superb form throughout. Strong stuff! >>
By Clive PEACOCK, Bachtrack.com, 17 February 2017
The City of Birmingham Symphony Orchestra's cellos and double basses' distinctive pizzicato paved the way for prodigious brass-led crescendos. >>
Сriticaclassica.wordpress.com, March 29, 2017
She is accompanied by the Odense Symphony Orchestra, beautifully conducted by Alexander Vedernikov, certainly on par with other more renowned European ensembles, and characterized by remarkable unity and harmony. >>
Peter DŰRRFELD, Kristeligt Dagblad, September 9, 2017
It was astonishing how beautifully the conductor and orchestra elevated "the greatest of the greats," as they had chosen to brand Beethoven’s ninth and final symphony >>
Peter DŰRRFELD, Kristeligt Dagblad, September 27, 2017
Vedernikov conducted without a score or baton, letting his hands speak instead. >>
Colin ANDERSON,
ClassicalSource, October, 4 2017
ClassicalSource, October, 4 2017
A stimulating concert led by a musician with an engaging personality who has an infectious sense of humour. Vedernikov, with his at-times unorthodox if highly effective conducting technique, seems immune to fads... >>
Andrew CLEMENTS, The Guardian, 5 Oct 2017
The orchestral colours are ravishing, the sense of pacing spot on.
>>
>>
The Scotsman, 4th Dec 2017
This monumental concert under Russian conductor Alexander Vedernikov was a case in point: two mammoth Russian works, shatteringly loud at times '“ but raw volume wasn't really the issue. >>
Rowena SMITH, The Guardian, December 4, 2017
Conducting the BBC Scottish Symphony Orchestra, in what was surprisingly the orchestra’s first performances of the work, Vedernikov showed himself to be an economical master of this music. >>
Anna PICARD, The Times, December 8 2017
Outside it was winter, but in Symphony Hall it was spring — there was tremendous vitality in Helmchen and Vedernikov’s Brahms. >>
Simon THOMPSON, SeenandHeard-International.com, December 4, 2017
Vedernikov paced the symphony like a vast psychodrama, and controlled Shostakovich’s majestic colour palette with consummate skill. >>
Vincent GUILLEMIN, ResMusica, March 21, 2018
To this is added the superb conducting finesse of Alexander Vedernikov, applies a modernity and a lightness to this score that do it justice, with a climax in the treatment of the orchestra during the riddle scene. >>
Klaus BILLAND,
OnlineMerker, June 6, 2018
OnlineMerker, June 6, 2018
The true revelation came from the Odense Symphony Orchestra, from whom the initiative for this Ring, under the profound and impetuous musical leadership of chief conductor Alexander Vedernikov, came in 2015 with concert performances. >>
Roy WESTBROOK, Bachtrack.com, 11 July 2018
The excellent forces of Savonlinna Opera, choral and instrumental, were very well directed by Alexander Vedernikov. >>
Curtis ROGERS,
ClassicalSource, August, 2, 2018
ClassicalSource, August, 2, 2018
Vedernikov evoked the still atmosphere of night at the opening, taken up by Karadaglić with the rippling chords on his instrument... >>
Mark THOMAS,
Bachtrack.com, August 3, 2018
Bachtrack.com, August 3, 2018
Vedernikov captured the orchestra’s supporting (but not secondary) role admirably to create a constantly changing web of textures. >>
Valdemar LØNSTED,
Information, September 19, 2018
Information, September 19, 2018
...Here the Russian conductor has fully proved himself to be one of the best, including in his repertoire. And Vedernikov got the best out of the orchestra, which is rightfully proud of the strong traditions of Russian music. >>
Richard LANDAU,
February, 13, 2019
February, 13, 2019
Vedernikov obtained impressive results from his massive band of players, with standout contributions from brass and woodwinds. >>
By Roy WESTBROOK, Bachtrack.com, 15 February 2019
It must be a challenge for the conductor to pace each section, transition between them, grade the dynamics and mould the phrasing, all in a way which holds the audience’s attention over its 65 minutes. >>
José IRUZUN, SeenandHeardInternational.com, March 11, 2019
It was the first time that I saw conducting, and he was splendid. There is no doubt that he knows the opera perfectly, and the result left nothing to be desired. Both the orchestra and chorus gave fine performances. >>
Paul Corfield GODFREY, SeenandHeardInternational.com, March 16, 2019
The orchestra coped excellently with the headlong rush of the music in the finale, and even the speedy traversal of the slow movement – after all the Andante is marked ‘con moto’ – had plenty of character. >>
By Lars Ole Bonde, Peripeti.dk, May 22, 2019
Vedernikov probably kept the rhythmic pot boiling, but at the same time he created moments of great melodic and tonal beauty . >>
Uwe KRUSCH, Pizzicato, September 11, 2019
Soloists and ensembles of the Bolshoi Theatre under the direction of Alexander Vedernikov deliver a mature and captivating performance. >>
Peter DŰRRFELD, Kristeligt Dagblad, December 17, 2019
A well-trimmed performance without any nonsense. >>
Брайан БАРФОРД, Сlassicalsource.com, 18 December 2019
Vedernikov was in his element and drew fine playing with some notable solos and an interpretation that balanced dreaminess with fleet-footed elegance. >>
"Tournée" Agency, ClassicalMusicNews.ru, November 28, 2019.
"My father was a man of diverse interests—broad, powerful, and what people today call charismatic." >>
Robert CUMMINGS, MusicWeb International,
2020
2020
Conductor Alexander Vedernikov draws excellent playing from the Bolshoi Theatre Orchestra and the Chorus sings splendidly. >>
Musical Life magazine, Februar 11, 2020
Verdi's opera Aida was staged at the Mikhailovsky Theatre for the first time. >>
Robert HUGILL, Planethugill.com, 1 March 2020
Alexander Vedernikov kept the music moving (very necessary in this long opera) and ensured a lightness of touch in the orchestration despite Meyerbeer's huge orchestra. >>
Tony COOPER, Andante, 11 March 2020
Russian conductor, Alexander Vedernikov worked wonders in the pit. He certainly had a lot to do (that’s Meyerbeer for you!) and presided over a memorable performance managing to keep the correct balance between pit and stage. And that’s not always an easy thing to do. Bravo! >>
Dmitry MOROZOV, Gazetaigraem.ru, April 2, 2020
Vedernikov succeeded in gathering the vibrant fabric of the four-hour score into a single musical and dramatic whole, so that it was perceived as one continuous breath. >>
Anton DUBIN,
"Musical review", № 12 (470) 2020
"Musical review", № 12 (470) 2020
"He brilliantly knew opera scores and all the subtleties of the art of opera conducting. He had a talent of huge scale and vast knowledge." >>
Dmitry RENANSKY,
MEDUZA., October 31, 2020
MEDUZA., October 31, 2020
Alexander Vedernikov consistently and maybe quite consciously broke out of all the traditional social frameworks, desperately refusing to fit into the comme-il-faut behavior. >>
Sergey KHODNEV,
Kommersant newspaper No. 201 of 31.10.2020
Kommersant newspaper No. 201 of 31.10.2020
Alexander Vedernikov, a calm, thorough and, at the same time, disarmingly ironic person, could seem to be not fanatic enough, not charismatic enough. Although, from today everything is seen differently. . >>
History of Music, October 30, 2020
Alexander Vedernikov's international reputation has gone from strength to strength over the past decade and he is in high demand as a guest conductor. >>
Sergey BULANOV,
"Itogi", November 1, 2020 г.
"Itogi", November 1, 2020 г.
Surprisingly, Vedernikov managed in fact only by the means of the art he created to get himself a name. His career seemed to be taking shape by itself. >>
The Telegraph, November 2, 2020
He directed thrilling concerts in Britain, supplying 'his own wild-man choreography on the podium' and spent eight years at the Bolshoi. >>
Anthony TOMMASINI,
New York Times Nov. 16, 2020
New York Times Nov. 16, 2020
A kinetic podium presence, he led performances at major opera houses and orchestras. >>
Le 18 novembre 2020 par Vincent GUILLEMIN
Chef curieux au répertoire complet, qui réussissait à maintenir la tension tout au long d’un opéra de Puccini comme à s’atteler avec brio au répertoire moderne, il était aussi l’un des artistes les plus marqué par la grande tradition russe, bien plus que les nombreux chefs russes reconnus aujourd’hui en occident. >>
Alexander MATUSEVICH,
Kultura, 31 Nov 2020
Kultura, 31 Nov 2020
But for all the Europeanness and universalism of Vedernikov's talent, he always remained a Russian conductor. >>
Mas du Barret. 1 août 2021
Vedernikov semblait devenir lui-même, en personne, la musique qu’il était censé interpréter. >>
