With a new chief conductor, the Bolshoi Theater will welcome Gergiev and decide on three-year planning
http://izvestia.ru/news/564261The Bolshoi Theater has found a new one music director and chief conductor. As Izvestia predicted, on Monday morning Vladimir Urin brought 36-year-old Tugan Sokhiev to the journalists.
Having listed the various advantages of the young maestro, the General Director of the Bolshoi Theater explained his choice, including considerations of a civil nature.
— It was fundamentally important for me that it was a conductor Russian origin. A person who could communicate with the team in the same language,” Urin reasoned.
The head of the theater also spoke about the similarity of tastes that emerged between him and the new musical director.
— It was important to understand what principles this person professes and how he sees modern musical theater. Despite the very serious age difference between me and Tugan, our views are very similar,” the general director assured.
Tugan Sokhiev immediately reciprocated Vladimir Urin’s compliments.
— The invitation was unexpected for me. And the main circumstance that convinced me to agree was the personality of the current director of the theater,” Sokhiev admitted.
The contract with Tugan Sokhiev was concluded for a period from February 1, 2014 to January 31, 2018 - almost until the end of Urin’s directorial term. The latter emphasized that the contract was signed directly with the conductor, and not with his concert agency.
Due to numerous commitments in the coming months and years, the new music director will be up to speed gradually. According to the general director, until the end of the current season, Sokhiev will come to the Bolshoi for several days every month, begin rehearsals in July, and make his debut in front of the Bolshoi Theater audience in September.
In total, in the 2014/15 season the conductor will present two projects, the names of which have not yet been disclosed, and he will begin full-scale work at the theater a season later. The volumes of Sokhiev’s activities in 2014, 2015 and 2016 are described in detail in the contract, said Vladimir Urin.
“Every month I will be here more and more often,” Sokhiev promised. “For this reason, I will begin to reduce Western contracts to the maximum.” I am ready to give the Bolshoi Theater as much time as it needs.
Vladimir Urin made it clear that he is not jealous of his newly minted colleague for his foreign orchestras, the current engagements with which will expire only in 2016. Moreover, the general director believes that “contracts need to be extended, but to a lesser extent.”
Dates from the distant future became the leitmotif of the press conference. Urin admitted to an ambitious plan that once attracted his predecessor Anatoly Iksanov: to expand repertoire planning at the Bolshoi to a three-year period. This idea, if successful, can become a real salvation for the theater: after all, it is the “myopia” of the Bolshoi Theater’s plans that does not allow it to invite first-rate stars, whose schedules are scheduled at least 2-3 years in advance.
Answering artistic questions, Tugan Taimurazovich appeared to be a moderate and cautious person. He has not yet decided for himself which is better - the repertory system or the stagione.He is interested in the ballet part of the life of the Bolshoi Theater, but does not intend to interfere with the activities of Sergei Filin (“Kthere will be no conflicts,” added Vladimir Urin). He will bring the Bolshoi orchestra out of the pit and onto the stage to “add shine to the theater,” but it seems he is not going to focus on symphony programs, like Valery Gergiev.
The name of Gergiev - Sokhiev's influential patron during the early years of his international career - became another refrain of the press conference. The owner of the Mariinsky Theater is gaining more and more outposts in leading Russian theaters: two years ago his pet Mikhail Tatarnikov headed the Mikhailovsky Theater, now it’s the Bolshoi’s turn.
What unites Gergiev with Tugan Sokhiev is not only small homeland(Vladikavkaz), but also alma mater - St. Petersburg Conservatory, class of the legendary Ilya Musin (n and when Izvestia asked whether he believed in the existence of the St. Petersburg school of conducting, Sokhiev answered: “Well, I’m sitting in front of you”).
— When making a decision, I consulted with close people: with my mother and, of course, with Gergiev. Valery Abisalovich reacted very positively, for which I am grateful to him. It would be a dream for Bolshoi Theater, if Valery Abisalovich found time to conduct here.WITH today“We can already talk to him about this,” Sokhiev said.
Izvestia Help
A native of North Ossetia, Tugan Sokhiev chose the conducting profession at the age of 17. In 1997, he entered the St. Petersburg Conservatory, having studied with Ilya Musin for two years, then moved to the class of Yuri Temirkanov.
In 2005, he became the main guest conductor of the National Orchestra of the Capitol of Toulouse, and from 2008 to this day he has led this famous French ensemble. In 2010, Sokhiev began to combine work in Toulouse with the leadership of the German symphony orchestra in Berlin.
As a guest conductor, Tugan Sokhiev has already performed with almost all the best orchestras in the world, including the Berlin and Vienna Philharmonic, Amsterdam Concertgebouw, Chicago Symphony, Bavarian Radio Orchestra and others. His list of opera accomplishments includes projects at the New York Metropolitan Opera, Madrid's Teatro Real, Milan's La Scala and Houston's Grand Opera.
Sokhiev regularly conducts at the Mariinsky Theater. He toured Moscow several times, but had never worked at the Bolshoi Theater.
According to Izvestia, the new musical director and chief conductor of the Bolshoi Theater will be Tugan Sokhiev. Official sources in the Bolshoi Theater will not confirm the appointment until Monday, when the theater's general director Vladimir Urin will introduce the conductor to the Bolshoi staff and journalists.
It took Urin exactly seven weeks to urgently search for a new face of the Bolshoi Theater - a short period of time, given the extreme difficulty of negotiations with in-demand musicians in the middle of the season. 36-year-old Tugan Sokhiev was mentioned as one of the most likely candidates back in early December last year.
A native of Vladikavkaz, Sokhiev chose the conducting profession at the age of 17. In 1997, he entered the St. Petersburg Conservatory, having studied with the legendary Ilya Musin for two years, and then moved to the class of Yuri Temirkanov.
His international career began in 2003 at the Welsh National Opera, but the very next year Sokhiev left the post of music director - as media reported, due to disagreements with his subordinates.
In 2005, he became the main guest conductor of the National Orchestra of the Capitol of Toulouse, and from 2008 to this day he has led this famous French ensemble. In 2010, Sokhiev began to combine work in Toulouse with the leadership of the German Symphony Orchestra in Berlin. It is still unknown whether the conductor intends to terminate the contract with any of these groups, or whether he will divide his time between three cities.
As a guest conductor, Tugan Sokhiev has already conducted almost all the best orchestras in the world, including the Berlin and Vienna Philharmonic, the Amsterdam Concertgebouw, the Chicago Symphony, the Bavarian Radio Orchestra and others. His list of opera achievements includes performances at the New York Metropolitan Opera, Madrid's Teatro Real, Milan's La Scala and Houston's Grand Opera.
Sokhiev constantly conducts at the Mariinsky Theater, with whose head, Valery Gergiev, he has a long-standing friendship. He toured Moscow several times, but had never performed at the Bolshoi Theater.
Izvestia’s sources in the Bolshoi Theater report that part of the orchestra and opera ensembles wanted to see the staff conductor of the Bolshoi Theater, Pavel Sorokin, as their new leader. However, Vladimir Urin made a choice in favor of an international star.
With the arrival of Sokhiev between largest theaters countries, the Bolshoi and the Mariinsky, an interesting parallel will appear: both creative teams will be led by people from North Ossetia and heirs of the St. Petersburg conducting school, students of Ilya Musin.
Solve unexpected and acute personnel problem Vladimir Urin had to do it after the former chief conductor of the Bolshoi Theater, Vasily Sinaisky, submitted his resignation on December 2, without completing preparations for the most important premiere of Verdi’s Don Carlos. Sinaisky explained his demarche by the impossibility of working with the new general director - “it was simply impossible to wait,” he told Izvestia |
Tugan Sokhiev. Photo – Vladimir Suvorov
Chief conductor of the Bolshoi Theater Tugan Sokhiev talks about theatrical despots and the musical ecosystem.
The Bolshoi Theater Symphony Orchestra opens a concert subscription.
For the renowned ensemble, the season begins on Friday, April 6, 2018, with a joint performance by the Bolshoi Theater orchestra and choir in the Concert Hall. P.I. Tchaikovsky.
On the eve of this important event V cultural life capital, chief conductor and music director of BT Tugan Sokhiev in exclusive interview told the iz.ru portal about theatrical despots and the rules for evaluating a performance.
You have enormous experience working with musicians in different countries. How exactly does the Bolshoi Orchestra differ from them?
He preserves the traditions that were laid by my great colleagues before the war. This is Pazovsky, and Golovanov, and Samosud, and Rozhdestvensky, and Svetlanov. Everyone left their mark.
These traditions are preserved by the musicians themselves. We have several dynasties; the grandmothers and great-grandmothers of the current orchestra members also played at the Bolshoi.
The Bolshoi Orchestra has a special sound and is able to reproduce characteristic Russian musicality. He is characterized by special phrasing, he repeats and sings after the wonderful singers on stage. I try to increase the richness of this musical worldview.
- And how do you work with such an orchestra - as an equal or as a tyrant and despot?
A tyrant and a despot are not about a conductor. This is purely about the composer. The conductor must be responsible for carrying out his will. As the musical director of the Bolshoi Theater, I am responsible for the quality of performance. Musical quality should not fall below a certain level.
- Does it happen that this bar is lowered?
I keep reminding myself that I am in a repertory theater. This system has been adopted in Russia and Germany. In other countries they stage stage plays: one cast rehearses the play for six weeks and performs it 8–10 times.
In the repertory system, a play released in February returns to the stage in May-July and again in September. But we are all living people, and singers are no exception. They are exposed to the weather and sometimes get sick.
Unexpected line-up changes happen, and sometimes you get the feeling that something has shaken. But that’s what’s good about live theater: any input can enrich the fabric of the performance with new shades and colors. This may strain spectators and musicians who are accustomed to a certain way of performing, but it is new interpretations that bring freshness to the reading of, say, Violetta’s part in La Traviata.
You have a direct bearing on the choice of repertoire. What are your criteria in this process and what awaits us in the near future?
There are many of them. One of them is in which coordinate system our theater is located. Today the Bolshoi cooperates with the world's leading operas - the Metropolitan, La Scala, the Paris Opera, and is in the same theatrical and musical ecosystem with them.
In addition, we focus on our viewer. Some people come to see “Boris Godunov” staged in 1946, this is our heritage. Others are happy to see Weinberg's The Idiot. The Baroque part of the repertoire is represented by Handel's Alcina. There is an audience for both the opera “Carmen” and the ballet “Anna Karenina”.
We have such a diverse audience, and the Bolshoi is obliged to have a large palette in its repertoire. This and Italian opera, and Russian, and Mozart's operas. We have performances in which we raise future Atlantovs and Exemplars.
Young artists need school, they need to go on stage. For this we have the performances “This is what everyone does” by Mozart and “Don Pasquale” by Donizetti. Only after such a school can a young soprano claim to be the “Queen of Spades”.
Looking ahead, I will say that three very important projects await us in collaboration with the Metropolitan Opera. These are Verdi's Aida, Richard Strauss's Salome and Wagner's Lohengrin. In general, Lohengrin is a real Moscow opera, sung by the great Kozlovsky. Anna Netrebko will sing in these two projects.
On Friday, April 6, you will perform Mahler's Second Symphony for soprano, contralto, mixed choir and orchestra. Why did you choose this work for the debut of the Bolshoi Theater Orchestra outside its home walls?
Such a powerful symphony as "Resurrection" must be performed powerfully and dramatically, there must be large composition orchestra and choir, which are at the Bolshoi Theater. With that experience of performing opera and ballet repertoire, which we have, the concert experience is also important to us. We could do it in the theater, but going to the stage Concert hall Tchaikovsky immediately gives a different mood to artists and musicians.
With this concert we are opening the subscription of the Bolshoi Theater Orchestra. The idea is not to perform popular symphonic repertoire like Brahms and Tchaikovsky, hits, but to go on stage with something that is rarely performed. We have concerts planned with Shostakovich's Eighth Symphony and interesting program works of Rachmaninov with the Second Symphony and the little-known and rarely performed cantata “Spring”.
“Polovtsian Dances” will also be performed in it, because we cannot forget about our operatic heritage. But what is important: the orchestra musicians who come out of the pit onto the stage perform an unusual repertoire, look at music differently, and I hope the audience will be interested in hearing this.
Are the musicians themselves passionate about this idea or, as Mahler said during rehearsals of his Second Symphony, do they have to “train the heavenly army”?
The Bolshoi Orchestra works, perhaps, more than anyone else in Moscow. With the number of performances and premieres that we give, musicians perform 2-3 times a day. And with such busyness, they retain great interest in parallel projects.
We have concert program in the Beethoven Hall, where orchestra musicians prepare and present their own programs and give solo concerts. And when we come to such serious material as Mahler, everyone is interested in it, including because this is not the most famous music.
- What happens to you during the third call? Is your heart pounding?
My schedule is so tight that during the third call I’m usually still changing. But I’m never late to the control panel. Of course, there is excitement. I always remember that I was going out to a famous orchestra, in a great theater, on the stage of which the best artists in the world sang - Del Monaco, Pavarotti. This always gives you the desire not to let you down.
We take the production of performances so seriously that I don’t worry about the performance. It is important to me that the performance succeeds. For me this means that the spectator is quietly following the performance, he is involved; I feel the energy of the hall in the back of my head. What’s important to me is the contact between the viewer and the artists, and through them with the composer, choreographer, director, and people came out a little different after the performance.
Music can certainly affect your mood. But can it change a person and influence his actions?
I notice music everywhere. In a store, in a restaurant, in a coffee shop, at a meeting. Music is fun. Some relax to the symphonies of Mozart, others relax to ABBA. Our conversation is also a kind of music. Even the music of the text can be heard with your inner ear when you read a book.
Music should, no matter how pretentious it may sound, participate in the formation of personality - from childhood influence inner world, like literature and painting. Music can be romantic, soft, sad, but never angry and aggressive. Many of the world's problems could be solved if people listened to each other the same way they listen to music.
Born in 1977 in Ordzhonikidze (now Vladikavkaz).In 1997 he entered the conducting department of the St. Petersburg State Conservatory. N.A. Rimsky-Korsakov (class of Professor Ilya Musin), graduated in 2001 in the class of Yuri Temirkanov.
First performance as opera conductor took place in Iceland (production of the opera “La Bohème” by G. Puccini).
In 2001 he was invited to the position of music director of the Welsh national opera. In 2002 he made his debut on the stage of the Welsh National opera house(“La Boheme”), in 2003 - at the Metropolitan Opera (“Eugene Onegin” by P. Tchaikovsky of the Mariinsky Theater). In the same year, he performed for the first time with the London Philharmonic Orchestra, performing S. Rachmaninov's Second Symphony.
Collaborated with Mariinsky Theater, on the stage of which, under his direction, the premieres of the operas “Journey to Reims” by G. Rossini, “Carmen” by J. Bizet and “The Tale of Tsar Saltan” by N. Rimsky-Korsakov took place. At this theater he also conducted the operas “The Golden Cockerel” by N. Rimsky-Korsakov, “Iolanta” by P. Tchaikovsky, “Samson and Delilah” by C. Saint-Saëns, and “The Fiery Angel” by S. Prokofiev.
In 2005 he became chief guest conductor, and in 2008 - musical director of the National Orchestra of the Capitol of Toulouse.
Among the group’s recordings released by Naive Classique: P. Tchaikovsky’s Fourth and Fifth Symphonies, M. Mussorgsky’s “Pictures at an Exhibition,” S. Rachmaninov’s “Symphonic Dances,” S. Prokofiev’s “Peter and the Wolf,” “The Rite of Spring” and “The Heat” bird" by I. Stravinsky.
In 2010-2016, he was also the chief conductor of the German Symphony Orchestra of Berlin, with whom he gave a number of concerts in Vienna, Ljubljana, Zagreb, San Sebastian and Valencia and other cities in Austria, Croatia, Spain, as well as France, Germany, China and Japan .
In 2004 he toured with the opera “The Love for Three Oranges” by S. Prokofiev at festivals in Aix-en-Provence, Luxembourg and Madrid (Royal Theatre/Teatro Real). In 2006, the Houston Grand Opera presented the opera “Boris Godunov” by M. Mussorgsky. In 2009, the conductor made his debut with Vienna Philharmonic Orchestra. Tugan Sokhiev conducted the operas " Queen of Spades" and "Iolanta" by P. Tchaikovsky at the Capitol Theater of Toulouse. In 2011 he conducted the opera “Aida” by G. Verdi (with the participation of the National Orchestra of the Capitol of Toulouse) at opera festival in Orange.
Currently, the conductor is actively touring in European countries, collaborating with such major orchestras as the orchestras of the Swedish, French, Finnish, Vienna, Frankfurt Radio, the Royal Stockholm Philharmonic Orchestra, the Oslo and Munich Philharmonic Orchestras, the La Scala Theater Orchestra, the Royal Concertgebouw Orchestra, the National the orchestra of France, the Bournemouth Symphony Orchestra and the orchestra of the Bavarian State Opera (Munich).
He is a guest conductor of leading European orchestras - such as the Berlin Philharmonic, Vienna Philharmonic, and London Symphony Orchestras.
Among the achievements of recent seasons are successful debuts with the Chicago Symphony Orchestra, the Leipzig Gewandhaus Orchestra and the Philadelphia Orchestra, tours with the London Philharmonic Orchestra and the Mahler Chamber Orchestra, performances with the Rotterdam Philharmonic Orchestra, the National Philharmonic Orchestra of Russia, and the Orchestra of the National Academy of Santa Cecilia ( Rome), RAI Orchestra (Turin), series of concerts at La Scala.
In the 2015/16 season he performed with the Vienna Philharmonic Orchestra at the Mozart Week festival in Salzburg, as well as with the Finnish Radio Symphony Orchestra and the Japanese NHK Orchestra.
Since February 2014 - chief conductor and music director of the Bolshoi Theater.
At the Bolshoi Theater he conducts the operas “La Bohème” by G. Puccini and “La Traviata” by G. Verdi. As a conductor-producer he worked on the operas “The Maid of Orleans” by P. Tchaikovsky (concert performance), “Carmen” by J. Bizet, “Katerina Izmailova” by D. Shostakovich.
Photo: © Deutsches Symphonie-Orchester Berlin / Frank Eidel.
Tugan Sokhiev has been the conductor of the Mariinsky Theater since 2005, on the stage of which, under his direction, the premieres of the operas “Journey to Reims”, “Carmen” and “The Tale of Tsar Saltan” took place.
People's Artist of the Republic of North Ossetia-Alania
Laureate III International competition them. S.S. Prokofiev
Tugan Sokhiev has been the conductor of the Mariinsky Theater since 2005, on the stage of which, under his direction, the premieres of the operas “Journey to Reims”, “Carmen” and “The Tale of Tsar Saltan” took place. At the beginning of the 2008-09 season. Tugan Sokhiev became the musical director of the National Orchestra of the Capitol of Toulouse; before that, for three years he was the chief guest conductor and artistic consultant of this orchestra. The group's first recordings at the Naive Classique studio (Tchaikovsky's Fourth Symphony, Mussorgsky's Pictures at an Exhibition, Prokofiev's Peter and the Wolf) were highly appreciated by reviewers.
Tugan Sokhiev conducted a number of concerts in Vienna, Ljubljana, Zagreb, San Sebastian and Valencia, as well as in various cities in France, Germany, Austria, Croatia, Spain, China and Japan. In 2002, Tugan Sokhiev made his debut on the stage of the Welsh National Opera House (La Boheme), and in 2003 - on the stage of the Metropolitan Opera Theater (Eugene Onegin). In the same year, the conductor made his first appearance with the London Philharmonic Orchestra, performing Rachmaninov's Second Symphony. The concert was highly praised by critics and became the beginning of close cooperation between Tugan Sokhiev and this group.
In 2004, the conductor brought the opera “The Love for Three Oranges” to the festival in Aix-en-Provence, which captivated the audience, which was later brilliantly performed in Luxembourg and Madrid (Teatro Real), and in 2006 at the Houston Grand Opera he presented the opera “ Boris Godunov", which was also a great success.
In 2009, the conductor made his debut with the Vienna Philharmonic Orchestra, receiving rave reviews from critics.
In recent concert seasons, Tugan Sokhiev conducted the operas The Golden Cockerel, Iolanta, Samson and Delilah, The Fiery Angel and Carmen at the Mariinsky Theater, as well as The Queen of Spades and Iolanta at the Théâtre Capitole in Toulouse.
Currently, the conductor is actively touring Europe, performing as a guest conductor in Strasbourg, Montpellier, Frankfurt and many other cities. He collaborates with such orchestras as the Swedish Radio Orchestra, the Vienna Radio Orchestra, the Frankfurt Radio Orchestra, the Royal Stockholm Philharmonic Orchestra, the Oslo Philharmonic Orchestra, the Munich Philharmonic Orchestra, the Royal Concertgebouw Orchestra, the Radio France Orchestra, the National Orchestra of France, the Finnish Radio Orchestra, the Deutsche Symphonie orchestra (Berlin), Bournemouth Symphony Orchestra and Bavarian State Opera Orchestra (Munich). Tugan Sokhiev recently made his debut with the Rotterdam and Berlin Philharmonic Orchestras, receiving the title “Dirigentenwunderwaffe” (“miracle conductor”) from critics. Also among the achievements of recent seasons are successful debuts with the Spanish National Orchestra, the RAI Orchestra (Turin) and a series of concerts at La Scala. In addition, Tugan Sokhiev has performed as a guest conductor with the Orchestra of the National Academy of Santa Cecilia (Rome), the Arturo Toscanini Symphony Orchestra, the Japanese NHK Orchestra and the National Philharmonic Orchestra of Russia.
Sokhiev’s plans for the 2010-2011 season and beyond include “The Queen of Spades” at the Vienna State Opera, performances with the Berlin Symphony Orchestra, the Finnish Radio Orchestra and the orchestra of the Accademia di Santa Cecilia in Rome, as well as concerts and European tours with the London Philharmonic Orchestra. (with which he tours annually) and the Chamber Orchestra. Mahler, projects with the Mariinsky Theatre, studio recordings in Toulouse, tours and several opera productions at the Théâtre Capitole in Toulouse.
Tugan Sokhiev photography
Laureate of the III International Competition named after. S.S. Prokofiev
Tugan Sokhiev has been the conductor of the Mariinsky Theater since 2005, on the stage of which, under his direction, the premieres of the operas “Journey to Reims”, “Carmen” and “The Tale of Tsar Saltan” took place. At the beginning of the 2008-09 season. Tugan Sokhiev became the musical director of the National Orchestra of the Capitol of Toulouse; before that, for three years he was the chief guest conductor and artistic consultant of this orchestra. The group's first recordings at the Naive Classique studio (Tchaikovsky's Fourth Symphony, Mussorgsky's Pictures at an Exhibition, Prokofiev's Peter and the Wolf) were highly appreciated by reviewers.
Tugan Sokhiev conducted a number of concerts in Vienna, Ljubljana, Zagreb, San Sebastian and Valencia, as well as in various cities in France, Germany, Austria, Croatia, Spain, China and Japan. In 2002, Tugan Sokhiev made his debut on the stage of the Welsh National Opera House (La Boheme), and in 2003 - on the stage of the Metropolitan Opera Theater (Eugene Onegin). In the same year, the conductor made his first appearance with the London Philharmonic Orchestra, performing Rachmaninov's Second Symphony. The concert was highly praised by critics and became the beginning of close cooperation between Tugan Sokhiev and this group.
In 2004, the conductor brought the opera “The Love for Three Oranges” to the festival in Aix-en-Provence, which captivated the audience, which was later brilliantly performed in Luxembourg and Madrid (Teatro Real), and in 2006 at the Houston Grand Opera he presented the opera “ Boris Godunov", which was also a great success.
In 2009, the conductor made his debut with the Vienna Philharmonic Orchestra, receiving rave reviews from critics.
In recent concert seasons, Tugan Sokhiev conducted the operas The Golden Cockerel, Iolanta, Samson and Delilah, The Fiery Angel and Carmen at the Mariinsky Theater, as well as The Queen of Spades and Iolanta at the Théâtre Capitole in Toulouse.
Currently, the conductor is actively touring Europe, performing as a guest conductor in Strasbourg, Montpellier, Frankfurt and many other cities. He collaborates with such orchestras as the Swedish Radio Orchestra, the Vienna Radio Orchestra, the Frankfurt Radio Orchestra, the Royal Stockholm Philharmonic Orchestra, the Oslo Philharmonic Orchestra, the Munich Philharmonic Orchestra, the Royal Concertgebouw Orchestra, the Radio France Orchestra, the National Orchestra of France, the Finnish Radio Orchestra, the Deutsche Symphonie orchestra (Berlin), Bournemouth Symphony Orchestra and Bavarian State Opera Orchestra (Munich). Tugan Sokhiev recently made his debut with the Rotterdam and Berlin Philharmonic Orchestras, receiving the title “Dirigentenwunderwaffe” (“miracle conductor”) from critics. Also among the achievements of recent seasons are successful debuts with the Spanish National Orchestra, the RAI Orchestra (Turin) and a series of concerts at La Scala. In addition, Tugan Sokhiev has performed as a guest conductor with the Orchestra of the National Academy of Santa Cecilia (Rome), the Arturo Toscanini Symphony Orchestra, the Japanese NHK Orchestra and the National Philharmonic Orchestra of Russia.
Best of the day
Sokhiev’s plans for the 2010-2011 season and beyond include “The Queen of Spades” at the Vienna State Opera, performances with the Berlin Symphony Orchestra, the Finnish Radio Orchestra and the orchestra of the Accademia di Santa Cecilia in Rome, as well as concerts and European tours with the London Philharmonic Orchestra. (with which he tours annually) and the Chamber Orchestra. Mahler, projects with the Mariinsky Theatre, studio recordings in Toulouse, tours and several opera productions at the Théâtre Capitole in Toulouse.