Bachtrack

Sun 28 Oct 2018

RTE National Symphony Orchestra

From the opening notes, Kochanovsky elicited a sharp, crisp tone from the RTÉ National Symphony Orchestra while keeping the rhythm taut. With blaring brass and fun cross rhythms, Kochanovsky made this a dramatic, lively rendition of this delightful overture…

The 12 repetitions of the “War theme” were masterfully graded by Kochanovsky starting with an innocent melody on the flute and finishing with the brass blazing forth in all their glory, a veritable cry of humanity against the horrors of war. The pizzicato at the end was nothing short of brilliant, resonating in the silence that followed.

Kochanovsky conceived the second movement as an ironic Scherzo, rejoicing in its unsettling dissonance and typical harmonic changes […] Even the livelier moments possessed a sinister quality […] At times stormy, at other times violent, Kochanovsky ratcheted up the volume and excitement to an almost unbearable pitch before the victorious C major shone out and brought an end to the terrors of war.

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Telescoper

Sat 27 Oct 2018

Shostakovich – The Leningrad Symphony / RTE Symphony Orchestra

From the immaculately controlled crescendo representing the advancing invaders that erupts into a nightmarish depiction of the ensuing battle right through to the last movement with its ending in resolution tempered in bitterness and regret, this performance had me gripped […] At the end there was an immediate outbreak of cheering and a well-deserved standing ovation.  More

Bachtrack

Sat 6 Oct 2018

National Orchestra of Belgium

Kochanovsky maintained a relentless march rhythm with the help of bass and snare drums to the resounding battle cries on low brass, as the woodwinds provided some relief in an interlude […] Oozing with lush lyricism and sensitivity where necessary, as in Romeo’s Variation and Love Dance, the orchestra proved it was also capable of a shrill tone and sharp exchanges in Meeting of Tybalt and Mercutio and The Duel […] Kochanovsky left nothing to chance, and it showed. His meticulous attention to the kaleidoscopic range of orchestral colours and the timbres of the instruments in different combinations bore fruit. More

Classic Toulouse

Sat 21 Apr 2018

Orchestre National du Capitole de Toulouse

Sous la direction passionnée de Stanislav Kochanovsky, l'orchestre exploite la plus extrême dynamique. Du pianissimo le plus ténu jusqu'aux fortissimi explosifs, les sonorités instrumentales conservent leurs richesses de timbre.

Utmisol

Fri 20 Apr 2018

debut concert with the Orchestre National du Capitole de Toulouse

Stanislav Kochanovsky propose une spectaculaire épopée narrative où, jouant avec la dynamique non moins spectaculaire de l’Orchestre National du Capitole de Toulouse, cuivres et percussions triomphants, il anime de somptueux tableaux cinématographiques où on ne peut qu’être subjugué par la débauche d’effets sonores et par la vision d’images vivantes.

L’Ape Musicale

Sat 2 Dec 2017

Stanislav Kochanovsky with the Accademia Nazionale di Santa Cecilia Orchestra

Kochanovsky has a very good understanding with the orchestra: his gesture is elegant, beautiful and very refined, which almost seems to sculpt the sound. The enchanted fairy surprise with which Tchaikovsky chose to start the Allegro tranquillo, which opens us to a world of dreams, is delicately delineated by Kochanovsky, which shows a taste for the beautiful sound, the chisel, the perfectionism that reminds us Karajan’s spasmodic love of Tchaikovsky sound’s aesthetics.

Limelight

Mon 27 Nov 2017

Melbourne Symphony debut concert

No one packs a heart-stopping tune into an oceanic orchestral swell quite like Sergei Rachmaninov, and this night of deep Romanticism belonged to his Symphony No 2. [...] From the pulsating Wagnerian brass of the Largo first movement through the transcendental conclusion of the Adagio and into the toe-tapping Allegro vivace Finale, it was paced beautifully with utter assurance by Kochanovsky.  Principal cellist David Berlin seemed in danger of bursting on several occasions as Kochanovsky drew every ounce of energy from his section, imploring and cranking the strings into emotional overdrive. It was a sensational performance from orchestra and conductor alike, and received with thunderous applause from a most appreciative Melbourne audience.

Tage Sanzeiger

Tue 26 Sep 2017

Evgenij Onegin at the Zurich Opernhaus

Stanislav Kochanovsky dagegen begreift ihn. Er steht im Orchestergraben vor der Philharmonia Zürich und erntet nach der Premierenpause einen Begrüssungsapplaus, wie man ihn selten hört. Und ja, er hat ihn verdient: für den intimen Tonfall, mit dem er das Stück beginnt. Für die Bläserfarben in der Briefszene. Für die Präzision, die nie plakative Gestaltung der Atmosphären, den sprechenden Gestus, mit dem er auch dann die Spannung aufrechterhält, wenn auf der Bühne fast nichts passiert.

Bachtrack

Mon 25 Sep 2017

Evgenij Onegin at the Zurich Opernhaus

Finally, under the dynamic young Stanislav Kochanovsky, the orchestra also gave an exciting performance, even in a score whose harmonies and repetitions are somewhat predictable, and sometimes sound kitschy to the modern audience. Not so here, albeit the sublime solo oboe, flute, clarinet and horn passing a single lyrical line among them was enough to bring out a handkerchief.

KulturKompasset

Mon 9 May 2016

Iolanta in Florence

Stanislav Kochanovsky‘s conducting was more refined than dramatic but overall very valuable. The orchestration of this opera is really interesting and the young Russian conductor was very attentive to every nuance, colour and mixture of timbre, extolling from the score all its post-romantic athmosphere. The soft melodies are always supported with finesse and orchestral transparency by the conductor who follows well the singers, globally his conducting seems the most interesting thing of this florentine performance.

L'Ape Musicale

Sat 30 Apr 2016

Lo sguardo della modernità - Iolanta al Maggio Musicale Fiorentino

Quanto all’orchestra, segnaliamo il maiuscolo contributo dei professori dell’Opera di Firenze, guidati dalla sapiente concertazione di Stanislav Kochanovky che si fa notare per il piglio energico e incisivo. Il direttore trae dalla partitura effetti musicali notevoli e una variegatissima gamma di colori e spunti espressivi. La narrazione musicale fluisce compatta e scorrevole e crea quell’atmosfera da fiaba musicale, dove l’inquietudine, la malinconia, la tragicità, assumono toni colloquiali di sicuro impatto.

GB Opera Magazine

Thu 28 Apr 2016

Iolanta at the Maggio Musicale Fiorentino

Stanislav Kochanovsky gave a reading that fortunately has gone hand in hand with the “dark” concept of the story, from an ominous prelude, eerie, creepy, in which the winds are the only protagonists of the song […]; He brought out all the anguish and the guilt of King René in the dramatic Andante in C minor, as well as the magical exoticism and mystery that imbues the orchestra in the next monologue of Ebn-Hakia. He faced the most decorative moments discreetly, and made clever use of the “rubati” in the “arioso” of Iolanta giving it a poignant and mysterious charm. Excellent yield of the great duet between soprano and tenor, melodic climax of the opera, in which the emphasis on the triplet rhythm, highlights the amorous enthusiasm of Vaudémont.

Totalita.it

Tue 26 Apr 2016

Kochanovsky conducts "Iolanta" at the Maggio Musicale Fiorentino

The young conductor Stanislav Kochanovsky offered a passionate and careful reading, with a calibrated dosing of effects and defining the various atmospheres that emerge from the score, from the almost pre-Raphaelite incipit to the beautiful and iridescent final.

Bachtrack

Fri 8 Apr 2016

Stanislav Kochanovsky with LaVerdi in Milano

The greatest revelation of the evening was the guest conductor, young Russian Stanislav Kochanovsky [...] he conducted with musicality, technical proficiency, clarity and much musicality, achieving the best both from the music and from the orchestra itself. […] Kochanovsky navigated the orchestra faultlessly through the rhythmically complex score, enabling the orchestra to play with complete precision. Within the various sections of the orchestra the musicians played with a great variety of tone, from the raspiness of the brass to the tenderness of the strings. […] Kochanovsky did not allow the orchestra to wallow unnecessarily, but allowed the music to speak for itself.

Il Quotidiano Italiano

Thu 11 Jun 2015

Il giovane direttore russo ha avuto agio di imporsi definitivamente all'apprezzamento del pubblico, con una trascinante esecuzione della Sinfonia n.2 di Borodin. L'opera usualmente viene citata con la definizione di "epica", il che chiarisce il vero spirito della fascinosa pagina. E il giovane direttore russo ha chiaramente mostrato di saper cogliere perfettamente il vero spirito della possente creazione. Nulla di «folcloristico» quindi nella sua visione, ma una decisa intenzione attuata in maniera esemplare - di riandare alla fascinosa originalità avvincente dell'opera, "popolare" al, ma nel senso più nobile della definizione e quindi ricca di spunti brillanti, esuberanti, coloriti che Kochanovsky ha valorizzato in pieno, trascinando la straordinaria compagine orchestrale del teatro verso orizzonti espressivi di grande incisività. Successo calorosissimo.

 

Wiesbaden Kurier & Tagblatt

Thu 4 Dec 2014

Sovereign guidance - German Tour with the State Academic Symphony Orchestra “Evgeny Svetlanov”

Under the sovereign guidance of Stanislav Kochanovsky with elegant and demanding conducting the audience of the third Meisterkonzert of the season was taken to a wide Russian landscape with a folklore echo thanks to a strikingly gripping performance of the Moscow guests.

AZ

Wed 3 Dec 2014

A lot of Russian soul at Aachen Meisterkonzert

A whole load of Russian culture experienced the audience of the second Meisterkonzert of the season at Eurogress Aachen. For the beginning four scenes from Glazunov ballet “Raymonda” were played. Music was in the best hands – of Kochanovsky and his musicians that maintained a round and absolutely balanced sound.

Performing rarely played in the concert hall Tchaikovsky’s Symphony №1 with the programmatic title “Winter Dreams” conductor proved that he is not only the most elegant appearance at the podium, but also a brilliant sound organizer. In Kochanovsky’s interpretation the symphony sounds as a well-conceived whole, tempi flow, transitions work organically, brass is carefully integrated into the overall sound and never sounds itself noisy in the problematic Finale. It was an interpretive masterpiece. Russians made a proper explosion with both encores from Tchaikovsky’s operas. At the end the audience gave a standing ovation.

SH International

Tue 15 Apr 2014

Debut Concert with the Accademia Nazionale di Santa Cecilia Orchestra in Rome

I'm sure that Sheherazade is a test-piece for young conductors in Russia. Well it is a test which Kochanovsky passes with flying colours. His gestures were elegant and clear. […] The seascape of the finale was a pictorial riot of sound such as is rarely heard, especially at its climax with three hardworking percussion players' triangle, cymbals and bass drum. Kochanovsky was not just vital in his communication with the orchestra. Every soul in the audience was with him on this adventure.

RAI Radio 3

Mon 7 Apr 2014

Debut with Accademia Nazionale di Santa Cecilia Orchestra

«Stanislav Kochanovsky has been a true revelation. He is a young conductor ready to be one of the protagonists of the musical life of the future. He showed such a ductility and a talent, as well as a way to galvanize and lead the orchestra that reminds the older ones. It has been a wonderful discovery… a beautiful performance, where there is a force, a brilliancy but at the same time a wonderful clarity and lyricism»

Urdmurtian News

Sat 5 May 2012

Tchaikovsky's motherland - festival in Udmurtia

Debut Concert with Svetlanov Symphony Orchestra
It is already obvious that this young man is a phenomenon. He is uniquely sophisticated in his sense of music and style. The works of Mussorgsky, Rachmaninov and Tchaikovsky he conducts with inspiration and youthful drive, enjoying pathetic moments, causing the orchestra to express emotions of ecstatic power (managing to avoid hysterical tear). Easily and elegantly he took the musicians away from heroic swing to delicate and tender pianissimo so that the orchestra of 120 instruments sounds like a warm sensuous whisper.

Musical review

Wed 1 Dec 2010

"A perfect ensemble"

In November took place the first Russian concert tour of the Kislovodsk Orchestra with its new principal conductor. Under the baton of Stanislav Kochanovsky the Orchestra proved itself to be a firm, well-organized, balanced team, and has shown perfect ensemble, with beautiful soft sound and particularly inspiration, which has been transmitted to the public. For the short time conductor succeeded to approach practically an ideal contact with the Orchestra and the musicians reacted on each maestro’s gesture and even smile with readiness and willingness.

Culture portal

Thu 1 Apr 2010

Eugene Onegin and Iolantha in Kislovodsk

A young talented conductor, a short time ago having headed the Philharmonic orchestra, has managed to achieve not only a balanced sound, but interpretation that corresponds to the space stylistics of the Kursal theatre, namely the combination of the chamber refinement of phrasing and  nuances that were worked up; along with ability to build up a grand form out of the musical piece. Kochanovsky avoided catchy but trivial contrasts, the sounding of his orchestra in dynamical respect was rather regularly over the whole act, without losing the expressiveness. The ability to underline the correlation between harmonious composition of the whole and vivid details communicated grandness to the interpretation.

The Times

Mon 5 May 2008

Giselle at the London Coliseum

London Debut with Mikhailovsky Theatre in Coliseum with Giselle.
“Tempi are brisk (Stanislav Kochanovsky’s conducting is sympathetic to the dancers but not over-indulgent) and the drama unfolds clearly, especially in the moonlit mysteries of the second act”

Thu 1 Mar 2007

Fitelberg Conductors' Competition 2007, Poland

“Wide, full conducting, effective, sensitive. Good appearance, a joyful, calm and smiling musician. Certain of what he is doing. He proved he is able to work, he showed the results of his work, being unconstrained and cheerful towards all”.