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Almost all orchestras in Europe has Russian musicians.

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Federal Agency News FAN | Irina Stolyarova

Conductor Stanislav Kochanovsky can be safely called the record holder for the number of performances given with different orchestras. In the 2020/2021 season, despite the pandemic and the associated restrictions on concert activities, the maestro's track record will be replenished with six more groups. Another debut recently took place - this time with the Monte Carlo Philharmonic Orchestra.
 
In an exclusive interview with FAN, the musician talked about why he travels so much and at one time left the position as a chief conductor.
 

«Surprises» cannot be avoided»

— Do you keep statistics on the symphony orchestras you have worked with? Only this season your debuts have been planned with the Wiener Symphoniker and the Radio Frankfurt Orchestra, the Deutsche Symphony Orchestra Berlin, the Bern Orchestra and the Finnish Radio Orchestra.
 
— For obvious reasons, this season was very difficult, but really, by some miracle, I still managed to get into almost all of these orchestras. Fortunately, these concerts were  the last public appearances in October. Later, in November, there were only recordings or broadcasts on radio and YouTube in empty halls. At the end of May I returned to Paris (Orchestre de Paris) to play one of the first concerts with audiences after the total lockdown in France. 
 
However, not all of the planned concerts took place: I could not get to Helsinki and Berlin, concerts in Amsterdam were postponed twice... But on the other hand, debuts took place with the Russian National Youth Symphony Orchestra, Tchaikovsky Symphony Orchestra and the Tyumen Symphony Orchestra at the invitation of Denis Matsuev.
 
Returning to your second question about statistics, I didn’t even think, to be honest, how many teams I had to work with... Now I would even like to count them. But, of course, I know exactly what compositions I have already conducted, how many times, where it was and when. So "all moves are recorded"!
 
— How many rehearsals do you need to performe with the new orchestra in order to avoid “surprises” at the concert?
 
— “Surprises” cannot be avoided either during 15 rehearsals, or when meeting with the orchestra only once at the dress rehearsal, because this is a “live” performance, where there is no chance to stop and “replay” something. For this reason, Glenn Gould left the stage, closed himself in a recording studio and from there, without "surprises", made his brilliant recordings, editing them from many takes.
 
If we are talking about a symphony orchestra or a recording of a live opera performance, then, as a rule, a dress rehearsal is recorded in costumes, after that the concert itself - it happens that there are two or three of them. Then all this is "glued together", and sometimes even separate fragments are specially added - after the performance without audience.
 
Дирижер Станислав Кочановский: Почти во всех оркестрах Европы есть выходцы из России
 

«Conductors work whereever they are invited»

— Is it more comfortable for you to work different high-level orchestras than to raise some provincial Russian ensemble as a chief conductor? 
 
— It is a great privilege and happiness to be able to make music with high-level orchestras! Believe me, no one sticks to a specific option chosen in advance. It is simply impossible to plan: today I will take an orchestra somewhere in the provinces, and then someone will suddenly invite you to the best orchestras in the world... Conductors perform wherever they are invited.
 
I was happy to receive an invitation to lead the North Caucasian Philharmonic Orchestra in Kislovodsk (now the Safonov Philharmonic Orchestra) in 2010. Much that I can do today, I owe it to this team. I grew up with him, it was a great school for me. We spent about 3.5 months a year with the orchestra, which is about 15-16 programs a year. The orchestra's repertoire was greatly expanded.
 
In addition to performing the "golden" classical repertoire, I wanted to give people a place outside the zone of auditory comfort. For example, we held a major music festival of Alfred Schnittke for his 80th birthda. For the first time works by Bartok, Britten, Schoenberg, Webern were performed - a lot of different music that had never been heard in Kislovodsk before! Around the end of my second season, we cautiously started to perform Operas in concert. By that time, I already had a considerable operatic repertoire behind me, because I had the experience as a resident conductor at the Mikhailovsky Theater, at the St. Petersburg Chamber Opera and at the Musical Comedy Theater (Theatre of Operetta). The opera world has always attracted me ... It does not let go even now.
 
— Why did you leave the position of chief conductor of the North Caucasian Philharmonic Orchestra in 2015 after five years? 
 
— In parallel with the work in Kislovodsk, invitations to Europe gradually began to appear. In 2014, according to the classical scenario, due to the illness of the famous maestro, I turned up in Rome in front of the famous orchestra of the Academy of Santa Cecilia - I then replaced Yuri Khatuyevich Temirkanov. I found out about this event six days before the concert... Since then I have been returning to Rome almost every season: in December 2021, two programs are planned at once, my fifth visit!
 
Of course, with the increasing of invitations to serious European houses, I could no longer devote enough amount of time that the chief conductor should spend with his orchestra. And it seemed dishonest to me to maintain a position just for the sake of a position. The world is now moving at extreme speeds, and it is almost impossible to sit in one place for too long - people get tired very quickly. Therefore, today I can say with confidence that both the meeting and parting with the Kislovodsk orchestra  were the perfect timing for both parties.
 
Дирижер Станислав Кочановский: Почти во всех оркестрах Европы есть выходцы из России

«Russia is rich in talent»

— You have conducted the Malaysian Philharmonic Orchestra, an orchestra funded by the country's largest state oil company. Can this experience be extended to Russian orchestras, primarily regional ones?
 
— Of course, everything is possible - there would be a desire, and Malaysia is a great example. Since 2016 I have been there every season: they have a wonderful hall and very good conditions for musicians. It seems to me that it would be completely natural if all city-forming enterprises in Russia seriously supported their regional orchestras.
 
— How often you see Russian musicians in European orchestras?
 
— I can say with confidence that today you will find people from Russia in almost all major European orchestras. Just like in opera productions, Russian singers will be involved anywhere in the world.
 
And how many outstanding Russian concertmeisters are in the best European orchestras! Igor Gruppman in the Rotterdam Philharmonic, Anton Barakhovsky in the Bavarian Radio Orchestra, Anton Sorokov in the Wiener Symphoniker, Alexey Moshkov in the Belgian National Orchestra, Vadim Tsibulevsky in the Netherlands Philharmonic Orchestra, Tatiana Vassilieva (cello) and two outstanding oboists - Alexei Ogrinchuk and Ivan Podyomov in Concertgebouw Orchestra. This list can be continued for a long time ... Russia is rich in talents!
 
Дирижер Станислав Кочановский: Почти во всех оркестрах Европы есть выходцы из России
 

«I guess I'm omnivorous»

— You have a rich background: three diplomas from the St.Petersburg Conservatoire, including an organist - and it all started with a choir school Glinka-Capella. Why did you ultimately choose opera and symphony conducting?​  
 
— I chose conducting quite early. Once at the Glinka-Capella (famous Choir school for boys in St.Petersburg) there was an audition for three boys in Mozart's opera Die Zauberflöte in Mariinsky theatre and I was selected and this was the beginning of my endless love for opera. And at the same time, there is a clear understanding that I want to be there, in the place of the conductor who leads the performance with his "magic" hand!
 
And then I quite consciously walked towards the intended goal. Years later, as I had dreamed since childhood, my first professional achievements were precisely opera and ballet performances.
 
— The repertoire presented on your website is huge: the classics are side by side with contemporary and rarely performed in Russia compositions. What are your musical preferences?
 
— Probably, I am omnivorous... But I have always been attracted especially by compositions that are rarely performed or unsuccessfully performed at the premiere. I am constantly learning something new.
 
— In all interviews you call St.Petersburg your home. Is there a desire to put down your musical roots there over time as a chief conductor?
 
— «I Love You, Peter's Great Creation...» The city in which someone was born leaves a special mark for any person forever. So was I! Over time, the more I travel around the world, the more I love my city. For me St.Petersburg is the best city all over the world! 
 
As for the position as a chief conductor, will see!
 
Дирижер Станислав Кочановский: Почти во всех оркестрах Европы есть выходцы из России

Dossier

Stanislav Kochanovsky was born in Leningrad in 1981. Graduated from the St.Petersburg Conservatoire, where he studied choral conducting, organ and opera-symphonic conducting.
 
Over the last few seasons, Stanislav has conducted special repertoire such as Ligeti Requiem, Scriabin-Nemtin Prefatory Action “Mysterium” and Kodály Psalmus Hungaricus with Belgian National Orchestra, Shostakovich unfinished opera The Gambler in St.Petersburg Chamber Opera; Myaskovsky "Silence", Zemlinsky "Seejungfrau" and Weinberg Symphony No.21 "Kaddish" with National Philharmonic Orchestra of Russia in Moscow; cantatas by van Gilse “Sulamith” and Taneev “John of Damascus” with the Netherlands Radio Philharmonic Orchestra.
 
The conductor's repertoire includes over 30 opera and ballet performances. The 2020/2021 season includes new engagements with the Wiener Symphoniker, the Frankfurt Radio Orchestra, Deutsche Symphony Orchestra Berlin, the Berne Symphony Orchestra, the Danish Symphony Orchestra, the Finnish Radio Orchestra. And also concerts in Moscow, St.Petersburg, Paris, Dresden, Amsterdam, Milan, Lucerne and other cities.